FAMILIAR  TREATISE 

ON  THE 

F  I  ISX'  ARTS, 


PAINTING,    SCULPTURE,    AND  MUSIC. 


BOSTON: 
PUBLISHED   BY   WAITT  &  DOW. 
1833. 


INTERED  ACCORDING  TO  ACT  OF  CONGRESS,  IN  THE  YEAR  EIGHTEEN  HUNDRED  AND 
THIRTY-THREE,  BY  JAMES  WAITT,  IN  THE  CLERK's  OFFICE  OF  THE  DISTRICT 
COURT  OF  MASSACHUSETTS. 


PUBLISHER'S  ADVERTISEMENT. 


The  design  of  the  Publishers  of  this  work  is  to  fur- 
nish a  familiar  and  entertaining  account  of  the  Fine 
Arts,  Painting,  Sculpture  and  Music,  for  young  read- 
ers, and  for  the  use  of  Schools  in  the  United  States. 
It  embraces  the  History  of  the  Arts  from  the  earliest 
ages,  with  Sketches  of  the  Lives  of  celebrated  Mas- 
ters, notices  of  their  best  productions,  and  remarks 
upon  the  peculiar  style  of  each.  It  contains  descrip- 
tions of  the  several  schools  of  Painting  and  Sculpture, 
and  observations  upon  the  National  Music  of  different 
countries,  as  Italy,  Scotland,  Germany,  etc.  It  also 
points  out  the  principles  and  rules  of  the  Fine  Arts, 
and  will  enable  the  pupil,  after  he  has  read  the  work, 
to  think  and  speak  with  discrimination  and  propriety 


4  ADVERTISEMENT. 

upon  the  subjects  of  Painting,  Sculpture  and  Music. 
As  there  is  no  work  of  this  kind  in  existence,  and  as 
the  subject  is  of  importance  to  the  cause  of  Educa- 
tion, it  is  hoped  that  the  undertaking  may  meet  with 
the  patronage  of  a  liberal  public. 


V 


CONTENTS- 


PAINTING. 

CHAPTER  I.    Painting.    In  Babylon;  Egypt;  Greece.    Artists  of 


Sicyon  and  Corinth.    Second  and  third  era  of  Painting  in  Greece, 
with  anecdotes  of  the  artists  who  floi:\rished  in  those  periods  9 

CHAPTER  n.  Progress  of  Painting  in  Greece.  Fourth  era.  Apel- 
les.  Notices  of  his  works,  and  anecdotes.  Other  artists.  Liberty 
and  the  arts  expire  together  in  Greece  IG 

CHAPTER  HI.  Painting  in  Italy.  Greek  artists  at  Romo.  Dark 
ages.  Cimabue.  Giotto.  Academy  of  St.  Luke.  Leonardo  da 
Vinci.    His  career  and  death  21 

CHAPTER  IV.  Pietro  Perugino.  Michael  Angelo  Buonarotti. 
Florentine  School.    Anecdotes  of  Michael  Angelo.    His  death  27 

CHAPTER  V.  Raphael  Sanzio.  Notices  of  his  works.  His  style. 
His  death.  Roman  School.  Of  the  Venetian  School.  Giovanni. 
Bellino.     Giorgone  31 

CHAPTER  VI.  Notices  of  Titian.  Corregio.  The  Lombard  School. 
Decline  of  Painting.  Julio  Romano.  Parmegiano.  Pellegrino  Ti- 
baldi.  Tintoretto.  His  daughter.  Paul  Veronese.  Andrea  del  Sar^ 
to.    Anecdotes  of  these  artists,  and  notices  of  their  style  38 

CHAPTER  VII.  Bolognese  School.  The  Caracci.  Their  styles. 
Anecdotes.  Poussin.  Domenichino.  Guido  Reni.  Albani.  Guer- 
cino.  Caravaggio.  Rapid  decline  of  the  arts.  Carlo  Dolci.  Sal- 
vator  Rosa  i.46 

CHAPTER  VIII.  Of  the  German,  Flemish  and  Dutch  Schools.  Al- 
bert Durer.  Characteristics  of  these  Schools,  with  anecdotes  and 
notices  of  their  most  eminent  masters.    The  Spanish  School  52 


6 


CONTENTS. 


CHAPTER  IX.    French  painters.    Cousin.    Blanchard.  Nicholas 


Poussin.    Some  account  of  his  life.    His  return  to  Italy.    His  death. 
Le  Brun.    Le  Sueur.  60 

CHAPTER  X.  Claude  liorraine.  Account  of  his  life  and  works.  French 
painters  of  the  eighteenth  century.  Vernet.  David.  His  works. 
Napoleon..'  •  65 

CHAPTER  XI.  First  attempts  at  Painting  in  E  igland.  Illuminated 
Missiles.  Of  Tapestry.  Allegorical  painting.  Hans  Holbein.  His 
style.  His  Life.  Other  English  painters.  Rubens  visits  England. 
Vandyke.    Destruction  of  the  Royal  Galleries  71 

CHAPTER  XII.  Influence  of  the  Restoration.  Lely.  Kneller. 
Anecdotes  of  these  artists.  Foreign  painters.  Notice  of  Hogarth 
and  his  works  •  78 

CHAPTER  XIII.  Wilson.  His  studies,  poverty,  death  and  fame. 
Reynolds.  His  studies  in  Rome.  Return  to  London.  Rising  rep- 
utation.   His  wealth.    Anecdotes.    Remarks  on  his  portraits  84 

CHAPTER  XIV.  Gainsborough.  Anecdotes  of  his  life.  His  com- 
positions. Barre,  the  historical  painter.  His  works.  Anecdote. 
Character  of  Barre  «  •  »  91 


CHAPTER  XV.  Blake.  His  singular  character  and  productions. 
Other  English  artists.  Fuseli.  He  goes  to  Rome.  His  Paintings. 
The  Shakespeare  and  Milton  Galleries.  Anecdotes  of  Fuseli,  and 
remarks  on  his  works.  Sir  Thomas  Lawrence.  Present  state  of  the 
art  in  England.    Sir  Henry  Raeburn.    Of  American  art  96 

CHAPTER  XVI.    Different  classes  of  painting.    Of  Perspective.  Of 


Invention.  Science.  Remarks  upon  various  paintings  105 

CHAPTER  XVII.  Of  Symmetry  or  design.  Of  drapery.  Of  Color- 
ing. Chief  Masters  of  that  art.  Of  the  expression  of  the  passions. 
Of  Costume.    Different  methods  of  painting  now  in  use  112 


SCULPTURE. 

CHAPTER  I.    Sculpture.    Its  antiquity.    Three  eras  of  sculpture  in 
Egypt.    Of  the  other  Eastern  nations  123 

CHAPTER  II.    Sculpture  in  Greece.    Doedalus.    Etrurian  sculpture. 
Of  the  Ionian  and  Chian  Schools,    That  of  Magna  Graecia  130 


CONTENTS. 


7 


CHAPTER  III.  Phidias  and  his  contemporaries.  The  works  of  Phid- 
ias.   His  banishment  and  death  141 

CHAPTER  IV.  Third  style  of  sculpture  in  Greece.  Praxiteles. 
His  chief  works.  Lysippus.  Successors  of  these  sculptors.  Fall  of 
the  arts  in  Greece  147 

CHAPTER  V.  Divisions  of  Sculpture  in  Italy.  The  art  in  Etruria. 
At  Rome.    Superiority  of  Grecian  sculpture  152 

CHAPTER  VI.     Effects  upon  the  art  caused  by  the  irruptions  of  the 


barbarians.    The  arts  revive  in  Italy.    Chief  masters  of  the  fourteenth 


century.  State  of  the  art  during  the  two  succeeding  centuries.  Flor- 
ence in  the  sixteenth  century.  Michael  Angelo.  His  contempora- 
ries and  pupils  156 

CHAPTER  VII.  Bernini.  Contemporary  artists.  The  first  French 
sculptors.  Succeeding  artists.  Of^  Spanish  sculpture.  Of  German 
sculpture.  Of  Canova.  Of  Thorwaldsen.  Present  state  of  the  art 
in  Italy  163 


CHAPTER  VHI.  Arts  in  Britain.  Roman  antiquities  there.  Efforts 
in  sculpture  till  tlie  reign  of  Henry  VIII.  Grinling  Gibbons.  Cibber 
and  his  works.    Roubilliac.    His  works.    Joseph  Wilton  171 

CHAPTER  IX.  Of  Banks  and  his  Chief  works.  Joseph  Nollekins. 
Remarks  on  his  works  and  style.  Joseph  Banks.  Anecdote.  His 
style  -.'^A70 

CHAPTER  X.  Of  Mrs.  Damer.  Her  chief  works.  Anecdotes. 
Flax  nan.  His  compositions.  Anecdotes.  Remarks  on  English 
sculpture  187 

CHAPTER  XI.  Science  of  sculpture.  The  Elgin  marbles.  Of  style. 
Coloring  statues.    Works  of  Phidias.    Proportion.    Drapery  195 

CHAPTER  XII.  Manner  of  performing  different  styles  of  sculpture. 
Forming  the  models.    Sculpture  in  wood,  stone,  marble  201 


MUSIC. 

CHAPTER  I.  Music.  Its  antiquity  proved  by  reference  to  scripture. 
Egyptian  music.  Modern  Hebrew  music.  Invention  of  various  in- 
struments. Musical  contests.  The  Muses.  Bacchus.  Pan.  The 
Syrens  207 

CHAPTER  II.  Music  in  the  primitive  ages.  Musical  demi-gods.  Of 
the  first  Bards.    Their  successors.     Archilochus.    Tyrtoeus.  Ter- 


S  CONTENTS. 

pr.nder.    Other  Grecian  musicians.    Flute  players.    Trumpet  play- 
er  217 

CHAPTER  III.  Ancient  and  modern  Greek  Music.  The  different 
modes.    Rhythm.    Authors  on  music.    Of  Roman  music  227 

CHAPTER  IV.  Music  in  churches.  First  organ  known  in  France. 
Music  cultivated  by  the  monks.  Guido  Aretinus.  Time.  Fashion  in 
harmony  and  melody.  231 

CHAPTER  V.  The  Troubadours.  Instruments  in  use  among  them. 
They  fall  into  disrepute.  French  music  in  the  fourteenth  century. 
Italian  music  in  the  middle  ages.  Music  of  the  Cambro  Britons. 
The  Welsh  Bards.  Music  in  England  in  the  fourteenth  century.  In 
Germany.  Changes  in  music.  Spanish  and  Flemish  composers. 
Music  in  England  till  the  Reformation  237 

CHAPTER  VT.  Of  melody.  Of  consonance.  Remarks  on  national 
music  24G 

CFTAPTER  VII.  Music  of  the  sixteenth  century.  Music  in  England 
of  the  seventeenth  century.  Eminent  tlnglish  composers.  I\-usicin 
Italy,  Germany  and  France,  in  the  seventeenth  century.  English 
composers  for  the  church  after  Purcell  251 

CHAPTER  VIII.  Mysteries  and  Oratorios  in  Italy.  Opera.  Buffe. 
Cantatas.  Musical  dramas  in  England.  Handel.  Mrs.  Robinson. 
The  opera  in  England.  Music  in  France  after  Lulli.  Music  in  Ger- 
many.   Of  Mozart  and  other  eminent  composers  of  Germany  263 

CHAPTER  IX.  Music  in  Italy  in  the  eighteenth  century.  In  Ven- 
ice. Musical  dramas  at  Naples.  Italian  music  in  the  nineteenth 
century.  Rossini  and  Weber.  Celebrated  female  singers.  Of  Sig- 
nora  Pasta.    Of  Paganini  272 


PAINTING, 


CHAPTER  1. 

Definition  of  Painting — Remark  of  Annibal  Caracci — Pleasure  to  be  de- 
rived from  Painting — Difficulty  of  tracing  its  progress — Earliest  painting 
upon  record  at  Babylon — Of  the  Egyptian  paintings — Painting  trans- 
planted into  Greece — Artists  of  Sicyon  and  Corinth — Of  Bularchus — 
Anarchy  fatal  to  the  Arts  in  Greece — It  revives  there — Second  era  of  paint- 
ing in  Greece — Of  Paneenus— Of  Polygnotus  of  Thasos — Of  Apollo- 
dorus — Birth  of  Zeuxis — Third  Era  of  painting  in  Greece — His  painting 
of  Juno — Contemporary  Artists — Contest  between  Zeuxis  and  Parrhasius 
— Vanity  of  both  these  Artists — The  Emperor  Tiberius  purchases  one  of 
the  works  of  Parrhasius — Of  Timanthes — His  most  celebrated  works. 

Painting  is  the  art  of  imitating  the  appearances  of  natural 
objects,  by  means  of  colors  spread  over  a  surface.  At  first,  this 
art  was  employed  merely  to  supply  the  deficiencies  of  writing,  and 
to  give  a  more  lively  representation  of  facts  than  mere  words 
were  capable  of  conveying.  Thus  for  instance,  we  have  seldom 
a  just  idea  of  the  face  or  person  of  one  whom  we  have  never 
seen,  even  although  we  have  had  a  frequent  and  accurate  descrip- 
tion of  both.  A  portrait  of  the  individual  will  instantly  give  us 
this  idea,  and  should  it  represent  a  living  person,  will  enable  us 
to  recognize  him  with  ease. 

An  artist  named  Agostino  Caracci,  discoursing  one  day  in  com- 
pany upon  the  celebrated  statue  of  the  liaocoon,  entered  into  a 
minute  description  of  its  beauties.    At  length  he  observed  that 
2 


10 


his  brother  Annibal  never  spoke,  and  reproached  him  for  not  ap^ 
pearing  to  take  an  interest  in  so  masterly  a  work.  Annibal  took 
a  piece  of  charcoal,  and  turning  to  the  wall,  drew  a  spirited  out- 
line of  the  statue ;  thus  taking  the  most  effectual  way  of  convey- 
ing to  the  audience  a  correct  idea  of  the  original.  *  The  poet/ 
said  he,  '  paints  with  words ;  but  the  painter  speaks  with  works.' 

All  that  is  most  valuable  in  the  universe  is  brought  before  our 
eyes  by  painting  ;  the  heroic  deeds  of  ancient  times,  as  well  as 
the  facts  with  which  we  are  more  conversant ;  and  distant  objects^ 
as  well  as  those  which  we  daily  see.  The  portrait  of  the  her©^ 
whose  memory  is  sacred  to  us, 

^  And  the  pale  smile  of  Beauties  in  the  grave ; 
The  charms  of  other  days,  in  starlight  gleams 
Glimmer  on  high  ;  their  buried  locks  still  wave 
Along  the  canvass ;  their  eyes  glance  like  dreams 
On  ours.' — 

It  would  be  an  interesting  task  to  trace  the  progressive  steps^ 
of  painting,  to  mark  its  improvement  from  the  first  rude  attempt 
of  the  untutored  savage,  to  the  high  state  of  refinement  which  it 
attained  under  the  most  celebrated  masters.  But  much  of  its 
history  is  involved  in  obscurity.  Like  every  other  human  inven- 
tion, it  probably  owed  its  origin  to  chance.  In  mere  indolence 
of  thought,  or  by  accident,  the  first  trace  of  form  may  have  been 
made  in  the  sand.  A  shadow  on  the  wall  may  have  suggested 
the  idea ;  and  the  desire  of  imitation  so  congenial  to  the  human 
mind,  induced  mankind  to  improve  upon  it. 

The  earliest  actual  account  which  we  have  of  the  existence  of 
painting  is  in  the  reign  of  Ninus  and  Semiramis,  King  and  Queen 
of  Assyria  ;  about  two  thousand  years  before  the  Christian  iEra. 
We  are  told  by  Diodorus  Siculus,  that  Semiramis,  having  thrown 


PAINTING. 


11 


abridge  over  the  Euphrates  at  Babylon,  built  a  castle  at  each  end 
of  it,  and  enclosed  them  by  three  high  walls,  with  towers  upon 
them,  made  of  brick,  painted  and  burnt. 

He  tells  us,  furthermore,  that  upon  these  burnt  bricks  Semira- 
mis  was  represented  on  horseback,  throwing  her  dart  at  a  pan- 
ther, and  near  her  Ninus  striking  a  lion  to  the  earth  with  his 
spear. 

But  Egypt  was  decidedly  the  birthplace,  or,  at  least,  the  very 
earliest  home  of  the  arts  and  sciences.  The  Egyptian  artists, 
however,  seldom  if  ever  attempted  more  than  a  mere  outline  of 
the  object,  as  seen  in  profile,  such  as  may  be  obtained  by  its  shad- 
ow. To  this  rude  draught  they  applied  colors,  simply  and  with- 
out mixture  or  blending,  also  without  any  attempt  at  producing 
the  effects  of  light  or  shade. 

Of  the  Egyptian  paintings  a  few  remain  to  the  present  era,  but 
their  date  is  uncertain.  Two  of  them  were  seen  at  Thebes  in 
Egypt  by  Bruce,  who  refers  them  to  the  time  of  Sesostris,  about 
seven  hundred  years  before  the  Christian  era.  He  remarks,  that 
they  might  be  compared  with  good  sign-paintings  of  his  day. 

From  Egypt  the  arts  were  transplanted  to  Greece,  where  the  cli- 
mate, the  government,  and  the  religion,  were  all  in  favor  of  their 
rapid  improvement.  Yet  great  as  were  the  advantages  possessed 
by  the  Greeks,  we  are  not  to  suppose  that  nature  deviated  from 
her  laws  in  their  favor.  *  Greek  art  had  her  infancy;  but  the 
Graces  rocked  the  cradle,  and  Love  taught  her  to  speak.'  It 
would  seem  that  the  Greeks  were  very  little  advanced  in  the  art 
of  painting,  at  the  time  of  the  Trojan  war.  Homer  never  uses 
any  words  to  signify  painters  or  painting,  which  renders  it  proba- 
ble that  this  art,  as  it  afterwards  existed,  was  not  understood  at 
that  period. 


12 


PAINTING. 


About  776  years  B.  C,  the  artists  of  Sicyon  and  Corinth  hegm 
to  signalize  themselves,  by  essays  which  excited  universal  aston-^ 
ishment  by  their  novelty.  It  is  equally  uncertain  and  immate^ 
rial,  at  which  of  these  cities  the  art  of  painting  was  first  cultiva- 
ted. *  If  ever  legend  deserved  our  belief,'  says  Fuseli,  '  the  am- 
orous tale  of  the  Corinthian  maid,  who  traced  the  shade  of  her 
departing  lover  by  the  secret  lamp,  appeals  to  our  sympathy  to 
grant  W 

Pliny  mentions  the  name  of  Saurias,  as  one  who  practised  in  the 
earliest  stage  of  the  art,  and  of  his  drawing  the  figure  of  ahorse. 
Mention  is  also  made  of  Cleanthes  of  Corinth — of  Ardices,  like- 
wise of  that  city — of  Philocles  an  Egyptian — also  of  Telephanes 
of  Sicyon,  who  is  said  to  have  advanced  to  the  monographic  style  ; 
tjiat  is  to  say,  who  first  thought  of  making  lines  within  a  simple 
outline. 

But  Pliny  mentions  these,  and  several  other  artists,  without  af- 
fixing any  date  to  the  period  of  their  existence.  The  first  impor- 
tant fact  in  the  history  of  painting  is  the  following.  About  the 
16th  Olympiad,  that  is,  700  years  before  the  Christian  era,  Can- 
daules,  king  of  Lydia,  purchased  a  picture  from  a  Grecian  artist 
named  Bularchus.  For  this  picture,  which  represented  the  Bat- 
tle of  Magnetes,  the  painter  received  its  weight  in  gold. 

Concerning  the  immediate  successor  of  Bularchus,  we  are  left 
in  ignorance.  It  is,  however,  probable,  that  the  confusion  result- 
ing from  civil  commotion  and  foreign  wars,  prevented  the  cultiva- 
tion of  an  art,  which  requires  the  fostering  aid  of  science,  of  pat- 
ronage, and  above  all  of  national  security. 

But  Xerxes  was  expelled  from  Greece.  The  arts  began  to  re- 
vive.   Genius  raised  her  drooping  head,  and  again  we  are  enabled 


PAINTING. 


13 


to  trace  the  steps  of  Painting,  which,  like  her  sister  arts,  has  ap- 
peared and  disappeared  according  to  the  revolution  of  ages. 

To  the  time  of  Phidias,  painting  continued  to  improve,  but 
very  slowly,  and  by  no  means  in  the  same  proportion  as  sculp- 
ture. The  genius  of  that  illustrious  master  extended  to  all  the 
arts.  He  originally  commenced  his  career  as  a  painter,  and  is 
said  to  have  been  the  instructer  of  his  brother  Panaenus,  who  adorn- 
ed with  his  paintings  the  walls  of  the  Poicile  portico  at  Athens. 

We  may  then  select  this  as  the  second  era  of  painting  in  Greece  ; 
five  centuries  before  Christ.  Prizes  were  established  at  this  pe- 
riod both  at  Delphos  and  Corinth  for  its  encouragement.  Polyg- 
notus  of  Thasos  then  first  succeeded,  in  what  Aristotle  calls  *  the 
conception  of  undescribed  being.' 

One  of  his  most  famous  paintings  adorned  the  Lesche  or  pub- 
lic hall  at  Delphi.  It  represented  Ulysses  consulting  the  spirit  of 
Tiresias  in  hell.  Lucian  and  Pliny  mention  Polygnotus  in  terms 
of  high  commendation.  Pliny  observes  that  he  first  adorned  the 
heads  of  his  females  with  veils  and  bandeaus,  robed  them  in  light 
drapery,  gently  opened  the  lips,  gave  a  glimpse  of  the  teeth,  and 
lessened  the  former  monotony  of  the  face. 

Improvement  was  now  carried  forward  in  Greece,  until  Apollo- 
dorus,  an  Athenian,  invented  or  perfected  the  knowledge  of  light 
and  shade.  He  was  the  immediate  precursor  of  Zeuxis,  and  is 
considered  by  Plutarch  as  having  opened  the  gates  by  which  that 
artist  entered. 

With  Zeuxis  commenced  the  third  era  of  painting  in  Greece. 
He  was  born  400  years  B.  C.  in  the  8oth  Olympiad.  His  birth 
place  was  Heraclea  in  Macedonia.  He  first  introduced  simplicity  of 
composition,  and  is  said  to  have  regarded  the  poetic  unity  of  char- 


14 


PAINTING. 


acter  adopted  by  Homer  in  the  description  of  his  heroes,  as  his 
model. 

We  are  told,  that,  having  acquired  considerable  riches  by  the 
sale  of  his  pictures,  he  at  length  gave  them  away  ;  saying,  he  did 
not  know  how  to  name  a  price  sufficient  for  their  value.  Before 
commencing  a  picture  of  Juno  for  her  temple  at  Agrigentum,  he 
assembled  the  most  beautiful  women  in  the  city,  and  from  them 
selected  five  whom  he  most  admired.  He  then  chose  the  finest 
or  most  noble  feature  of  each,  and  from  this  combination  produ- 
ced a  picture  which  at  that  period  was  unrivalled.  The  con- 
temporaries of  Zeuxis  were  Timanthes,  Androcides,  Eupompus, 
and  Parrhasius. 

The  latter  however  is  the  only  one  who  may  be  considered  as 
his  rival  ;  and  it  is  difficult  to  say  which  merited  the  palm.  It 
appears  that  they  both  claimed  it  with  equal  self-sufficiency.  To 
decide  the  controversy,  they  agreed  that  each  should  paint  a  pic- 
ture, upon  the  respective  merits  of  which  the  public  should  de- 
cide. 

Zeuxis  painted  some  grapes,  and  so  naturally,  that  when  the 
picture  was  exhibited,  the  birds  came  to  peck  at  them.  Parrha- 
sius then  produced  his  picture.  '  Come,'  said  Zeuxis,  '  draw 
that  curtain,  that  we  may  judge  of  your  performance.'  The  cur- 
tain was  the  painting  itself  Zeuxis  acknowledged  himself  sur- 
passed. *  For,'  said  he,  *  I  only  deceived  the  birds,  but  Parrha- 
sius has  deceived  even  me.' 

Zeuxis,  some  lime  after,  painted  a  boy  carrying  a  basket  of  grapes, 
and  seeing  the  birds  come  and  peck  at  them,  acknowledged,  that 
if  the  grapes  were  well  painted,  the  boy  was  not  so,  otherwise  the 
birds  would  have  been  afraid  of  him.    It  is  said  that  his  last  work 


PAINTING, 


15 


was  the  portrait  of  an  old  woman,  with  which  he  was  so  much 
amused,  that  he  laughed  till  he  died. 

Parrhasius  was  born  at  Ephesus ;  and  seems  to  have  excelled 
his  celebrated  rival  in  the  proportion  and  symmetry  of  his  figures. 
As  his  genius  was  great,  so  were  his  pride  and  ostentation.  He 
spoke  with  contempt  of  all  other  painters,  and  of  himself  as 
having  brought  the  art  to  perfection.  We  are  also  told  that  he 
had  much  enthusiasm  in  his  profession,  and  was  always  heard  to 
sing  when  at  work. 

The  vanity  of  Zeuxis  led  him  to  have  his  name  embroidered 
in  gold  upon  the  border  of  his  robe  when  he  attended  the  Olym- 
pic games.  That  of  Parrhasius  induced  him  to  wear  a  purple 
robe  and  a  golden  garland.  His  staff  was  turned  round  with  ten- 
drils of  gold  ;  and  his  sandals  were  fastened  with  golden  straps. 
He  often  declared  that  he  was  descei^ded  from  Apollo,  and  that 
Hercules  used  to  visit  him  at  night,  while  he  was  painting  Apol- 
lo's picture. 

The  Emperor  Tiberius  was  so  delighted  with  a  picture  of  his, 
representing  a  priest  of  Cybele,  that  he  purchased  it  for  G0,000 
sesterces  ;  that  is,  nearly  five  hundred  pounds  sterling. 

Timanthes  was  a  painter  of  that  period,  renowned  for  the  vig- 
or of  his  imagination.  The  place  of  his  birth  is  uncertain,  but  his 
most  celebrated  work  was  the  Sacrifice  of  Iphigenia.  After  rep- 
resenting in  the  features  of  Ulysses,  Calchas,  Ajax,  and  Menc- 
laus,  the  different  degrees  of  grief  likely  to  be  felt  by  each,  he 
painted  Agamemnon,  the  father  of  Iphigenia,  with  his  face  hid 
in  his  cloak,  leaving  to  the  imagination  of  the  spectators  the  in- 
tensity of  parental  sorrow. 


16 


PAINTING. 


At  another  time,  having  painted  a  sleeping  Cyclops,  in  order 
to  convey  an  idea  of  his  gigantic  size,  he  added  a  group  of  sat- 
yrs, measuring  the  monster^s  thumb  with  a  thyrsus. 

■  .  -  \ 


CHAPTER  II. 

Progress  of  painting  in  Greece — Of  Euphranor  and  Eupompus — Of  Pamphil- 
us  the  master  of  Apelles — Birth  of  Apellee — Fourth  era  of  painting  in 
Greece — Apelles  born  at  a  fortunate  period — His  excellence  as  an  artist 
-His  character  as  a  man — His  generous  conduct  with  regard  to  Proto- 
genes — Friendly  contest  with  that  artist — Apelles  patronised  by  Alexan- 
der the  Great — Some  notice  of  the  works  of  Apelles — Anecdotes  concern- 
ing him — Aristides  of  Thebes  his  contemporary — His  mo&t  celebrated 
works — Of  the  other  artists  of  that  period — Demetrius  Poliorcetes  sacks 
the  town  of  Rhodes,  and  spares  the  works  of  Protogenes — J.iberty  and 
the  Arts  expire  together  in  Greece. 

Painting  now  continued  to  advance  with  a  rapid  pace.  Na- 
ture was  her  guide,  and  to  develope  her  various  charms,  the  ob- 
ject of  the  artists.  Euphranor  was  equally  celebrated  in  painting 
as  in  statuary  ;  and  the  names  of  Eupompus  and  Pamphilus  hold 
a  distinguished  place  in  the  annals  of  Grecian  arts.  Pamphil- 
us especially  had  the  glory  of  being  the  master  of  Apelles,  with 
whose  name  commences  the  fourth  and  last  epoch  of  painting  in 
Greece,  about  the  conclusion  of  the  fourth  century  before  Christ. 

Apelles  was  born  at  Cos,  in  the  Archipelago,  in  the  ]  12th 
Olympiad,  about  328  years  B.  C.  This  extraordinary  man  ap- 
pears to  have  been  endowed  with  a  more  perfect  combination  of 
talents  and  virtues,  than  has  perhaps  ever,  before  or  since,  fallen 
to  the  lot  of  any  individual. 


PAINTING. 


17 


He  had  besides  the  peculiar  good  fortune  of  being  born  at  a 
period,  when  Greece  was  in  its  highest  state  of  cultivation. 
Apelles  united  in  his  own  style  all  the  scattered  excellencies 
which  had  distinguished  his  predecessors,  and  thus  attained  per- 
fection ;  as  Zeuxis,  from  a  combination  of  all  that  was  most 
beautiful  and  graceful,  produced  his  Juno. 

Not  only  as  an  artist  is  he  extolled  above  all  others;  but 
equally  as  a  man,  for  his  gentleness  and  generosity.  Grace  of 
conception  and  refinement  of  taste  distinguished  the  works  of 
Apelles;  and  to  these  were  added  an  energy  and  life  in  the 
execution,  and  a  completeness  of  finish,  which  had  never  been 
effected  before  his  time.  His  generous  behavior,  with  regard 
to  his  rival  Protogenes,  has  been  often  recorded.  Being  highly 
delighted  with  a  picture  painted  by  that  artist,  whom  he  only 
knew  by  reputation,  he  sailed  to  Rhodes  on  purpose  to  visit  him. 
There,  finding  him  neglected  and  in  poverty,  he  purchased  some 
of  his  works,  and  declared  that  he  intended  to  sell  them  as  his 
own. 

The  Rhodians,  awakened  to  a  sense  of  their  injustice  by  the 
conduct  of  Apelles,  raised  Protogenes  from  his  humble  situation 
to  rank  and  fortune.  It  is  recorded,  that,  when  he  first  arrived 
at  the  house  of  Protogenes,  he  found  only  an  old  woman  there, 
who  asked  his  name.  For  an  answer,  Apelles  took  out  his  pen- 
cil, and  traced  upon  a  canvass,  a  line  or  circle  of  extreme  deli- 
cacy. When  Protogenes  returned  and  found  what  had  occurred, 
he  declared  with  admiration,  that  no  one  but  Apelles  could  have 
been  his  visiter. 

Then,  taking  another  color,  he  drew  an  outline  still  more 
correct  and  delicate.     Apelles,  on  returning,  found  himself 


18 


PAINTING. 


surpassed,  and  laid  on  a  third  color  with  so  much  skill  and 
delicacy,  that  Protogenes  confessed  himself  vanquished.  The 
tablets,  representing  this  friendly  contest,  were  preserved  at  Rome 
in  the  time  of  Pliny. 

Beloved,  honored,  and  employed  by  Alexander  the  Great, 
Apelles  had  the  happiness  of  enjoying  that  renown  to  which  he 
was  so  justly  entitled,  and  which  envy  so  often  denies  to  men  of 
genius  during  their  life  time.  Alexander  treated  him  with  the 
familiarity  of  a  friend,  and  even  issued  an  edict,  ordaining  that 
no  other  person  should  presume  to  paint  his  likeness. 

The  paintings  of  Apelles  were  numerous,  but  the  most  cele- 
brated of  his  productions  was  his  Venus  rising  from  the  sea. 
This  picture,  being  taken  to  Rome,  was  dedicated  by  Augustus 
in  the  temple  of  Julius  Caesar.  The  perfect  outline  of  the  god- 
dess, the  evanescent  gradation  of  the  tints;  the  purity,  force  and 
brilliancy  of  the  conception,  render  the  Venus  of  Apelles  the 
most  splendid  achievement  of  ancient  art. 

His  painting  of  *  Alexander  launching  Thunder,'  in  the  temple 
of  Diana  at  Ephesus,  has  been  greatly  extolled  for  its  effect,  and 
the  boldness  of  its  relief  It  was  a  rule  of  Apelles  never  to  pass 
a  day  without  using  his  pencil;  from  whence  came  the  proverb, 
Nulla  dies  sine  linea, — no  day  without  a  line. 

One  of  his  pupils  showed  him  a  performance,  and  observed 
that  he  had  done  it  it  a  very  short  time.  '  I  can  easily  believe  it,* 
said  Apelles,  '  and  only  wonder,  that,  in  the  same  space  of  time, 
you  have  not  painted  many  more  such.' 

Another  pamter.  showed  him  a  portrait  of  Helen,  richly  adorn- 
ed with  jewels.     *  I  perceive  young  man,'  said  Apelles,  *  that 


PAINTING. 


19 


since  you  could  not  make  her  handsome,  you  at  least  resolved  to 
make  her  rich.' 

One  day,  a  shoemaker  took  the  liberty  of  criticising  a  sandal 
painted  by  Apelles,  who  immediately  altered  it.  The  shoema- 
ker, passing  by  the  next  day,  felt  proud  to  see  that  his  criticism 
had  been  attended  to,  and  ventured  to  pass  his  censure  on  the 
figure  itself ;  upon  which  Apelles  came  forward,  and  told  him  that 
his  judgment  went  no  higher  than  a  sandal,  which  remark  after- 
wards passed  into  a  proverb. 

Aristides  of  Thebes  was  a  contemporary  of  Apelles.  His  was 
the  power  of  impressing  form  with  soul,  of  representing  those 
impassioned  actions  of  the  body,  which  result  from  violent  emo- 
tions of  the  mind.  So  effective  was  the  earnestness  of  a  suppli- 
ant pourtrayed  by  him,  that  the  voice,  as  we  are  told,  seemed  to 
escape  from  the  picture. 

Timanthes  drew  the  line  which  separates  terror  from  an  ex- 
cess of  horror  ;  Aristides  marked  the  boundaries  which  divide 
it  from  disgust.  His  famous  picture  of  the  wounded  and  dying 
mother,  shuddering  lest  her  starving  infant  should  suck  her  blood, 
was  one  of  his  most  celebrated  performances.  The  expression 
of  the  principal  figure,  still  alive,  though  mortally  wounded,  help- 
less, beautiful,  and  forgetting  herself  in  anguish  for  her  child, 
has  excited  a  commiseration,  and  produced  an  effect  never  since 
equalled,  although  the  same  subject  has  been  frequently  handled 
by  succeeding  artists. 

When  Alexander  the  Great  sacked  the  town  of  Thebes,  he 
caused  this  painting  to  be  removed  to  his  native  town  of  Pella. 
At  this  time  there  were  many  other  painters  in  Greece,  renown- 


20  PAINTING. 

ed  for  their  respective  excellencies  ;  Esclepiodorus  for  the  sym- 
metry of  his  figures,  Protogenes  for  exquisite  skill  in  execution 
and  finish,  Nicias,  Nicomarchus  and  others,  through  whose  exer- 
tions painting  arrived  at  its  utmost  perfection  in  Greece. 

When  Demetrius  Poliorcetes  besieged  Rhodes,  and  might  have 
taken  it  by  assault  on  that  part  of  the  town  where  Protogenes  re- 
sided, he  forbore,  lest  he  should  injure  any  of  his  works.  Such 
anecdotes  are  valuable,  as  showing  the  softening  influence  of  the 
arts  at  all  periods,  and  upon  the  most  savage  natures.  A  con- 
queror, stopped  in  the  midst  of  his  career  by  the  beauty  of  a 
painting,  reminds  us  of  the  legend,  of  the  lion  crouching  before 
the  eye  of  innocence. 

But  Greece,  weakened  by  luxury  and  domestic  dissension,  was 
subdued  by  the  more  warlike  Romans.  With  her  liberties,  her 
energies  expired.  The  spirit  which  animated  her  arts  was  re- 
moved, and  they  fell  to  rise  no  more.  Thus  all  sublunary  things 
have  within  them  the  seeds  of  their  own  destruction.  The  acme 
of  excellence  once  reached,  their  further  progress  in  existence 
can  only  be  retrograde. 

Greece,  once  the  cradle  of  the  arts,  is  now  their  tomb ;  the 
mighty  sepulchre  of  the  unforgotten  dead,  from  whose  ashes  no 
Soaring  genius  has  arisen  ; 

*  'T  is  Greece,  but  living  Greece  no  more.' 


PAINTING, 


81 


CHAPTER  III. 

Earliest  notice  of  Painting  in  Italy — Of  Fabius — Of  Pacuvius — Greek  ar- 
tists emigrate  to  Rome — The  Romans  hold  the  art  in  contempt — Etruria 
the  birth-place  of  the  arts  in  Italy — Augustus  removes  *  the  Alexander  Vic- 
torious '  to  Rome — Irruptions  of  the  Goths — Dark  ages — Birth  of  Cima- 
bue — His  most  famous  works — He  discovers  the  principle  of  perspective 
— Birth  of  Giotto — His  principal  excellence — The  Academy  of  St.  Luke's 
founded  by  Jacopo — Cassentino  and  others — Massaccio--Mantegna— Luca 
Giordano — Birth  of  Leonardo  da  Vinci — His  wonderful  genius — Oil-paint- 
ing discovered — Mona  Lisa — Leonardo's  Last  Judgment — He  is  made 
Directory  of  the  Academy  at  Milan— Dies  at  Paris  in  the  arms  of  Fran- 
cis I. 

It  is  probable  that  painting  was  practised  in  Italy  at  a  very  ear- 
ly period.  Little  however  is  known  of  its  actual  progress  there. 
Pliny  indeed  says,  that  in  his  time  there  were  paintings  existing 
at  Ardea,  which  were  executed  before  the  foundation  of  Rome. 
But  the  earliest  satisfactory  account  of  the  practise  of  the  art  in 
Italy,  is  in  the  year  450  of  the  city,  that  is,  303  years  before  the 
Christian  Era  ;  when  Pabius,  a  noble  patrician,  painted  the  temple 
of  Salus.  He  and  his  family  thence  obtained  the  surname  of 
Pictor. 

It  is  not  impossible  that  Fabius  had  travelled  in  Greece.  Per- 
haps he  might  even  have  been  acquainted  with  Apelles  ;  and  might 
have  seen  him  employed  upon  those  works  which  rendered  his 
name  immortal.  There  was  then  a  lapse  of  150  years,  during 
which  we  only  hear  of  Pacuvius,  a  poet,  who  amused  his  declining 
years  in  painting  the  temple  of  Hercules. 

Although  about  this  time  Greek  paintings  were  introduced  in- 
to Rome,  it  appears  that  the  conquerors  were  too  much  occupied 
with  schemes  of  aggrandizement  and  military  fame,  to  devote 
much  of  their  attention  to  the  arts. 


22 


PAINTING. 


After  the  reduction  of  Greece  to  the  Roman  power,  Rome  be- 
came the  emporium  of  honor,  employment,  and  consequent  profit 
to  artists.  The  plunder  brought  from  Greece  astonished  the  com- 
paratively uncultivated  inhabitants  of  Italy ;  and  the  principal 
painters  and  sculptors  of  that  period  were  Greeks,  who  had  de- 
serted their  own  country  in  hopes  of  emolument. 

Etruria  is  generally  considered  as  the  birth-place  of  the  arts  in 
Italy ;  but  the  Etruscan  vases,  which  have  been  an  object  of  cu- 
riosity to  antiquaries,  were  merely  covered  with  hieroglyphics, 
like  those  of  Egypt.  It  still  remains  a  doubt  whether  Etruria  or 
Calabria  was  the  parental  abode  of  the  arts  ;  but  it  is  certain,  that 
for  some  time  the  warlike  Romans  held  the  practice  of  painting 
in  contempt,  and  regarded  the  Greek  artists  as  slaves,  who  exerted 
themselves  for  the  amusement  of  their  masters. 

Augustus  first  discovered  the  use  which  a  monarch  might  make 
of  painting  ;  and  caused  two  pictures,  painted  by  Apelles,  repre- 
senting Alexander  Victorious,  to  be  carried  to  Rome,  and  placed 
in  the  forum.  Claudius  afterwards  caused  the  heads  of  both 
these  pictures  to  be  cut  out,  and  the  portrait  of  Augustus  placed 
in  their  stead.  But  the  Roman  emperors  appear  to  have  found 
little  native  talent  capable  of  conveying  their  images  to  posterity 
in  a  worthy  manner. 

At  length  the  irruptions  of  the  northern  nations  put  an  end  to 
both  Grecian  and  Roman  efforts.  During  what  are  emphatical- 
ly termed  the  dark  ages,  the  light  of  science  was  extinguished  ; 
or  if  the  Greek  monks,  in  the  silence  and  seclusion  of  their  con* 
vents,  cherished  a  few  glimmering  sparks  with  which  to  cheer 
their  solitude,  still  it  was  not  till  the  beginning  of  the  fourteenth 
century,  that  learning  and  the  arts  again  dawned  upon  Europe* 


PAINTING. 


23 


The  first  name  worthy  of  record  in  the  annals  of  Italian  paint- 
ing, is  that  of  Cimabue.  He  was  a  native  of  Florence,  and  was 
born  of  a  noble  family.  He  geems  to  have  been  incited  to  emu- 
lation by  seeing  the  paintings  of  some  Grecian  artists  who  were 
established  at  Florence.  His  first  attempt  was  a  picture  of  the 
Virgin,  for  the  church  of  Our  Lady  at  Florence.  When  it  was 
finished,  it  excited  so  much  enthusiasm,  that  it  was  carried  in 
procession  with  the  sound  of  trumpets,  to  the  place  of  fts  destina- 
tion. 

Encouraged  by  this  applause,  Cimabue  pursued  his  studies  with 
ardor.  He  died  at  the  age  of  seventy  years,  A.  D.  1300.  The 
principle  perspective  was  now  discovered — that  is,  the  manner 
of  representing  objects  as  they  appear  at  different  distances  or 
heights.  Painting  in  oils  was  unknown  in  the  time  of  Cimabue. 
According  to  the  custom  of  the  times,  he  painted  in  fresco,  or  in 
distemper. 

Giotto  was  his  pupil.  He  was  born  at  a  village  near  Florence, 
and  first  threw  off  the  trammels  of  the  art  as  it  was  then  prac- 
tised. He  is  said  to  have  been  originally  a  shepherd  ;  but  his 
abilities  procured  him  the  patronage  of  Pope  Benedict  IX. 
This  prelate  sent  for  him  to  Rome,  and  employed  him  in  decorat- 
ing the  church  of  St  Peter's.  The  principal  benefit  which  paint- 
ing derived  from  Giotto,  was,  that  he  returned  to  nature  for  the 
actions  and  expressions  of  his  figures. 

The  skill  of  this  ingenious  artist  excited  the  emulation  of  his 
contemporaries.  Fourteen  years  after  his  death,  his  pupil,  Jacopo 
Cassentino,  and  nine  other  painters,  founded  the  Academy  of  St. 
Luke's  in  Florence.  One  hundred  and  fifty  years  after  its  foun- 
dation, this  academy  produced  three  of  the  greatest  artists  that  the 


84 


PAINTING. 


world  has  ever  known ;  Leonardo  da  Vinci,  Michael  Angelo 
Buonarotti,  and  Raphael. 

After  the  death  of  Giotto,  Masaccio,  Mantegna,  and  Luca 
Signorelli,  successively  upheld  the  glories  of  the  revived  art.  The 
latter  in  particular  seems  to  have  been  the  first  who  regarded  na- 
ture with  a  discriminating  eye  ;  who  balanced  light  and  shade,  and 
decided  upon  the  motion  of  the  objects.  By  understanding  the 
principles  bf  prospective,  he  first  laid  the  feet  of  upright  figures  flat 
upon  the  ground,  and  foreshortened  his  heads  and  figures  with 
truth  and  effect. 

Even  Raphael  did  not  scruple,  eighty  years  afterwards,  to  stu- 
dy, and  sometimes  to  adopt  his  actions  ;  and  it  has  been  suppos- 
ed that  Michael  Angelo  in  his  Last  Judgement,  imitated  in  some 
measure  the  Lunetta,  which  was  painted  by  Luca  in  the  church 
of  the  Madonna  at  Orvieto. 

Leonardo  da  Vinci  was  born  at  Florence  in  1445.  The  genius 
of  this  wonderful  man  broke  forth  with  a  splendor  which  distan- 
ced all  former  excellence — '  made  up  of  the  elements  that  consti- 
tute the  essence  of  genius,  favored  by  education  and  circum- 
tances — all  eye,  all  ear,  all  grasp ;  painter,  poet,  sculptor,  anato- 
mist, architect,  engineer,  chemist,  machinist,  musician,  man  of 
science,  and  sometimes  empiric,  he  laid  hold  of  every  beauty  in 
the  enchanted  circle,  but  without  exclusive  attachment  to  one, 
dismissed  in  her  turn  each.' 

Leonardo  grasped  at  all ;  and  succeeded  in  everything  he  un- 
dertook. Whatever  he  painted,  came  from  his  hand  elevated 
and  adorned.  But  he  wanted  perseverance,  and  wasted  much  of 
his  time  in  experiment ;  otherwise  it  is  probable  that  he  would 
have  carried  painting  to  the  highest  point  of  perfection. 


25 


tte  introduced  the  principles  of  chiaro-scuro,  and  depth  of  tone 
and  coloring.  Chiaro-scuro  is  the  art  of  placing  and  proportion- 
ing light  and  shade  in  such  a  manner,  as  to  produce  a  pleasing 
effect,  independently  of  any  other  circumstance  connected  with 
the  picture.  The  pictures  were  thus  relieved  from  the  tame- 
ness  of  mere  imitation.  Michael  Angelo  in  design,  Corregio  in 
finish  and  chiaro-scuro,  and  Rubens  in  composition,  are  all 
indebted  to  Da  Vinci  for  much  of  their  perfection. 

He  was  the  pupil  of  Andrea  Verrochio,  a  painter  of  some 
eminence  at  Florence.  About  this  time,  the  use  of  oil  was 
adopted  in  painting.  This  important  discovery  is  attributed  to 
John  Van  Eyck,  of  Brussels;  and  although  this  opinion  is  often 
disputed,  it  is  certain  that  he  was  at  least  the  first  who  used  oils 
essentially  and  effectually. 

It  was  observed  by  Vanmander,  that  the  discovery  made  as 
much  noise  in  the  world  as  that  of  gunpowder  had  done  near  a 
century  before.  At  the  same  time,  notwithstanding  the  brillian- 
cy of  color  and  effect  produced  by  tlie  use  of  oil,  it  in  no  way 
aided  the  more  material  objects,  viz.  beauty  of  design,  and 
purity  of  expression. 

The  paintings  of  Leonardo  are  dispersed  throughout  Europe. 
His  well-known  portrait  of  Mona  Lisa,  in  purity  of  drawing,  and 
simple  sweetness  of  expression,  has  an  equal  only  in  the  works 
of  Raphael. 

The  Last  Supper,  which  he  painted  for  the  refectory  of  the 
Dominicans  at  Milan,  is  a  performance  of  exquisite  beauty. 
The  dignity  and  propriety  of  expression,  and  the  correctness  of 
drawing  exhibited  in  this  picture,  have  perhaps  never  been 
surpassed.  The  grave  attitude  of  the  principal  figure,  the  loose 
3 


26 


PAINTING. 


and  free  posture  of  the  arms,  and  the  air  of  grandeur  and  tran* 
quillity  which  distinguish  it,  are  well  contrasted  with  the  uneasy 
and  vehement  agitation  of  the  apostles,  and  show  in  a  very 
striking  manner  one  of  the  chief  excellences  of  Leonardo; — 
that  of  giving  to  everything  its  suitable  character,  so  as  to  mark 
a  proper  distinction  between  the  objects. 

We  are  told  that  he  had  left  the  head  of  Judas  unfinished, 
being  unable  to  find  a  suitable  model  for  the  treacherous  disciple  ; 
when  the  prior  of  the  convent  came  to  importune  him  on  the 
subject,  being  impatient  to  see  the  piece  completed ;  upon 
which,  the  painter  drew  the  head  of  the  prior  himself,  and  put  it 
upon  the  shoulders  of  Judas. 

The  Duke  of  Milan  made  Leonardo  director  of  an  Academy 
of  Painting  which  he  had  erected  in  that  city.  When  Francis 
the  First  took  Milan,  Leonardo  retired  to  Florence,  where  he 
found  the  reputation  of  Michael  Angelo  at  its  height. 

He  afterwards  left  Italy,  and  went  to  Paris,  where  he  was 
well  received  by  Francis  the  First.  In  the  last  sickness  of  Leo- 
nardo, that  monarch  went  to  visit  him.  The  painter  attempted 
to  rise  from  his  couch  to  thank  him  for  this  mark  of  kindness. 
The  monarch  embraced  him,  and  assisted  him  to  lie  down 
again.  At  that  moment,  Leonardo  became  speechless,  and 
expired  in  the  arms  of  Francis,  in  the  seventy-fifth  year  of  his 
age,  A.  D.  1520, 


PAINTING. 


•27 


CHAPTER  IV. 

Of  Pietro  Perugino,  the  tutor  of  Rapliael — Style  of  his  Painting— His  char- 
acter— Birth  of  Michael  Angelo  Buonarotti — Patronized  by  Lorenzo  de 
Medici — Considered  the  founder  of  the  Florentine  iSchool — Meaning  of 
the  term  School  in  Painting — Characteristics  of  the  Florentine  School — 
Manner  of  Michael  Angelo — Receives  an  order  to  paint  the  Sistine 
Chapel — Difficulties  which  he  encounters  and  overcomes — Description 
of  Michael  Angelo's  Last  Judgment — Further  notice  of  his  style — 
Anecdote  concerning  him — His  death  at  Ferrara — Is  re-interred  at 
Florence — His  tomb. 

Pietro  Perugino,  the  tutor  of  Raphael,  and  the  fellow  schol- 
ar of  Leonardo  da  Vinci,  was  born  at  Peruggia,  of  poor  parents. 
For  some  time,  he  received  instruction  from  a  painter  of  that 
town,  who  taught  him  very  little,  and  used  him  very  ill. 

As  soon  as  he  was  able  to  procure  his  own  living,  he  went  to 
Florence,  and  placed  himself  under  the  care  of  Andrea  Verro. 
chio,  where  he  met  with  Leonardo  da  Vinci. 

Perugino  was  celebrated  for  the  graceful  air  of  his  heads, 
especially  of  his  females.  He  principally  employed  himself  in 
adorning  convents  and  churches.  He  was  married  to  a  very 
beautiful  woman,  whom  he  passionately  loved ;  and  in  all  his 
pictures  of  the  Virgin  Mary  we  trace  her  resemblance. 

He  is  said  to  have  been  covetous  and  distrustful ;  and  to  have 
carried  a  box  containing  his  gold,  wherever  he  went.  Perhaps 
we  may  find  some  apology  for  him  when  we  recollect  the  poverty 
in  which  he  was  born,  and  the  hard  labor  by  which  he  earned 
his  money.  We  are  told  that  being  robbed  of  his  treasure,  the 
loss  so  affected  his  spirits,  that  he  died  in  the  seventy-eighth 
year  of  his  age,  A.  D.  1524. 

Michael  Angelo  Buonarotti  was  the  son  of  Ludovico  Buona- 
3* 


28 


PAINTING. 


rotti  Simoni,  of  the  ancient  family  of  the  Counts  of  Cafiosa 
He  was  born  in  the  year  1474^  in  the  castle  of  Chiusi,  in  the 
territory  of  Arezzo  in  Tuscany.  ^ 

Under  the  protection  of  Lorenzo  de  Medici,  surnamed  the 
Magnificent,  he  erected  an  Academy  of  Painting  and  Sculpture 
at  Florence,  and  is  considered  the  head  or  founder  of  the  Floren- 
tine School. 

A  school,  in  the  fine  arts,  means  a  class  of  artists  who  have 
learned  their  profession  from  a  certain  master,  either  by  study- 
ing his  works,  or  by  receiving  instructions  from  him;  and 
who,  consequently,  discover  more  or  less  of  his  manner,  either 
from  the  desire  of  imitation,  or  from  a  habit  of  adopting  his 
principles. 

The  Florentine  School  is  remarkable  for  greatness — for  a 
certain  dark  severity — for  an  expression  of  strength,  which  per- 
%  haps  excludes  grace — and  for  a  character  of  design  approaching 
to  the  gigantic.  The  Tuscan  artists,,  satisfied  with  commanding 
our  admiration,  seem  to  have  considered  the  art  of  pleasing  as 
beneath  their  notice.  Michael  Angelo  delighted  in  the  great 
and  in  the  terrible.  In  boldness  of  conception,  and  grandeur^ 
he  surpassed  Leonardo;  but  in  sweetness  and  gentleness^ 
Leonardo  was  superior  to  him. 

*  He  did  not  possess,'  says  Sir  Joshua  Reynolds,  ^  so  many 
delightful  parts  of  the  art  as  Raphael ;  but  those  which  he  had 
acquired,  were  of  a  more  sublime  nature.  He  saw  in  painting 
little  more  than  what  might  be  attained  by  sculpture ;  and  he 
confined  it  to  exactness  of  form  and  the  expression  of  the 
muscles.'  As  painter,  sculptor,  and  architect,  Michael  Angela 
attempted  and  succeeded  in  uniting  magnificence  of  plan  with 


PAINTING. 


29 


the  utmost  simplicity  and  breadth.  His  line  is  uniformly  grand. 
His  infants  bear  a  promise  of  greatness,  his  men  are  a  race  of 
giants,  and  his  women  are  Junos.  Even  deformity  comes  from 
his  hands  impressed  with  dignity.  When  freedom  was  banished 
from  Florence,  Michael  Angelo  retired  to  Ferrara.  He  had 
until  then  devoted  himself  almost  solely  to  the  study  of  sculpture 
and  of  architecture.  Of  painting,  as  a  separate  science,  he  was 
comparatively  ignorant.  In  this  state  of  knowledge,  he  received 
an  order  from  the  Pope  to  complete  the  painting  in  the  Sistine 
Chapel  at  Rome.  He  was  then  unacquainted  with  the  mechan- 
ical process  of  fresco ;  but  his  was  not  a  spirit  to  be  subdued 
by  obstacle  or  daunted  by  difficulty. 

Rising  in  the  strength  of  his  unconquerable  genius,  he  resolved 
to  depend  entirely  upon  his  own  resources.  He  went  to  Rome, 
and  shut  himself  up  in  the  Chapel,  with  his  own  hands  prepar- 
ing the  materials  for  his  labor.  After  many  trials  and  failures, 
after  beholding  his  first  piece  moulder,  and  mildew  almost  before 
his  eyes;  he  at  length  triumphed,  and  achieved,  in  a  course 
of  years,  the  most  adventurous  undertaking  in  modern  art. 

The  sublimity  of  design,  and  grandeur  of  invention,  with 
which  the  series  of  paintings  in  the  Sistine  Chapel  are  planned 
and  executed,  almost  approaches  to  the  miraculous.  His  picture 
of  the  Last  Judgment,  painted  thirty  years  afterwards,  is  the 
greatest  work  of  modern  genius.  It  contains  upwards  of  three 
hundred  figures,  many  of  which  are  larger  than  life. 

He  represents  the  Supreme  Being  at  the  moment  of  giving 
forth  the  awful  sentence,  *  Go,  ye  accursed,  into  everlasting  fire.* 
No  mercy  is  expressed  in  the  divine  countenance.  All  is  dark, 
terrible  and  sublime.    Thunder  and  lightnings  surround  Him. 


so 


PAINTING. 


The  human  forms  seem  agitated  by  every  gradation  of  feeling. 
They  are  drawn  in  every  variety  of  position  ;  and  over  the 
whole  is  diffused  an  ease/  a  science,  a  magic  power ;  which 
constrains  us  to  gaze  with  wonder — with  admiration — perhaps 
even  with  terror — yet  scarcely  with  interest  or  sympathy. 

In  the  works  of  Buonarotti  all  is  action.  Repose  itself  does 
not  seem  at  rest.  Every  form,  every  muscle,  every  attitude  is 
displayed  and  exerted  to  the  utmost.  He  sports  with  difficulty ; 
yet  sometimes  sacrifices  simplicity  and  feeling  in  the  exhibition 
of  his  strength.  Each  giant  limb  of  his  awful  and  gloomy 
shapes  seems  in  movement ;  and  the  whole  effect  is  mighty  and 
overpowering. 

Michael  Angelo  loved  solitude;  and  used  to  say  that  'Paint- 
ing was  jealous,  and  required  the  whole  man  to  herself  Being 
asked  why  he  did  not  marry ;  '  Painting,*  said  he,  *  is  my 
wife,  and  my  works  are  my  children.'  He  obtained  the  friend- 
ship and  esteem  of  all  the  sovereign  princes  of  his  time,  and 
the  admiration  of  succeeding  ages.  He  died  at  Rome ;  aged 
90,  A.  D.  1564.  Cosmo  de  Medici  ordered  his  body  to  be 
secretly  unburied,  and  brought  to  Florence.  Here  he  was 
reinterred  in-  the  church  of  Santa  Croce,  where  magnificent 
obsequies  were  performed  for  him.  His  tomb  is  still  to  be  seen 
there;  a  marble  monument,  adorned  with  three  figures — Paint- 
ing, Sculpture,  and  Architecture,  all  by  his  own  hand. 


PAINTING. 


31 


CHAPTER  V. 

Birth  of  Raphael  Sanzio — He  leaves  his  native  place — Goes  to  Sienna — 
Paints  the  cartoons  in  the  library  tliere — Goes  to  Florence — Visits 
Rome — Paints  the  walls  of  the  Vatican — His  exquisite  taste — Three 
styles  of  Raphael — Notice  of  his  works — Chief  charm  of  his  style— His 
*  Dispute  on  the  Sacrament ' — His  *  Heliodorus  ' — Difference  between 
his  manner  and  that  of  Michael  Angelo — His  death — Personal  appear 
ance  of  Rapliael — He  is  regarded  as  the  founder  of  tlie  Roman  School— 
Of  tlie  Venetian  Painters — Style  of  the  Venetian  School — Titian  con- 
sidered tlie  founder  of  tliat  school — Of  Giovanni  and  Gentile  Bellino— • 
Mahomet  H.  invites  Gentile  Bellino  to  Constantinople — He  paints  the 
Decollation — Anecdote  of  Mahomet  II. — Bellino  leaves  Constantino 
pie — Dignities  bestowed  on  him — His  death — Birth  of  Giorgione— 
Titian  excites  his  jealousy — Style  of  Giorgione — His  death. 

As  AFTER  gazing  on  a  fierce  and  lurid  sunset,  the  eye  lests 
with  complacency  on  the  mild  radiance  of  the  pure  and  silver 
moon,  so  do  we  turn  from  the  lonely  and  terrible  grandeur  of  tho 
*  mighty  Florentine/  to  the  gentler  and  more  natural  beauties  of 
Raphael  Sanzio — the  father  of  dramatic  painting,  and  the 
founder  of  the  Roman  School. 

Raphael  was  born  at  Urbino,  on  Good  Friday,  in  the  year 
1483.  His  father  was  an  ordinary  painter,  and  Pietro  Perugino 
was  his  master.  He  soon  discovered  tliat  the  perfection  of 
painting  was  not  confined  to  the  capacity  of  Perugino,  and 
therefore  went  to  Sienna,  in  hopes  of  finding  some  method  of 
improving  or  advancing  himself 

His  friend  Pinturrichio  found  employment  for  him  in  mak- 
ing the  cartoons  for  the  pictures  of  the  library :  but  he  had 
scarce  commenced  this  occupation,  when,  aroused  by  the  report.^ 
which  reached  him,  concerning  the  excellence  of  da  Vinci's  and 
Michael  Angelo's  works,  he  resolved  to  go  to  Florence. 


32 


PAINTING. 


Here  he  diligently  studied  the  manner  of  these  illustrious 
masters,  and,  comparing  it  with  that  of  Perugino,  soon  discover- 
ed wherein  consisted  the  faults  and  deficiencies  of  the  latter. 
Raphael  afterwards  went  to  Rome,  where  he  was  employed  by 
Pope  Julius  the  Second,  in  adorning  the  walls  of  the  Vatican, 
lie  commenced  by  painting  the  School  of  Athens,  the  Dispute  of 
the  Holy  Sacrament,  and  the  other  pieces  which  are  in  the 
chamber  of  the  Apostolic  Signature. 

There  is  perhaps  no  feature  of  the  mind,  from  the  gentlest 
emotion  to  the  most  fervid  burst  of  passion,  which  has  been  left 
unobserved  by  Raphael.  We  stand  with  awe  before  Michael 
Angelo;  w^e  tremble  at  the  height  to  which  he  elevates  us. 
We  embrace  Raphael,  and  follow  him  wherever  he  leads  us. 

Less  elevated,  less  vigorous  than  Buonarotti,  but  more  insinu- 
ating, more  pressing  on  our  hearts,  he  commands  at  all  times  our 
warmest  sympathies.  Of  his  inestimable  productions  there  re- 
main to  us  various  easel  pictures  in  oil,  cartoons,  and  frescoes; 
exhibiting  three  different  manners. 

The  first  style  is  dry,  little,  tedious — though  not  without  truth 
and  high  finish.  This  was  derived  from  his  master  Perugino. 
The  second  manner  is  an  intermediate  step, — an  attempt  to 
escape  from  a  minuteness  unsuited  to  his  own  fervor,  and  to  the 
dignity  of  the  art.  The  third  manner  is  solely  and  exclusively 
his  own  ;  neither  derived  nor  inherited  ;  full,  harmonious,  sweet, 
and  flowing ;  possessing  such  an  union  of  natural  grace  and 
antique  correctness,  as  we  meet  only  in  the  creations  of  Rapha- 
el's pencil. 

In  the  space  of  only  twelve  years,  (for  he  united  exquisite 
finish  with  wonderful  expedition,)  he  completed  the  frescoes  of 


PAINTING. 


33 


the  Vatican  and  the  Tarnesina,  consisting  of  many  hundred 
figures.  He  designed  the  cartoons,*  and  produced  those  exqui- 
site paintings  in  oil,  which  have  chiefly  spread  his  fame  through- 
out Europe.  Of  these  the  most  wonderful,  though  perhaps  not 
the  most  perfect,  is  The  Transfiguration.  We  also  look  at  it  with 
a  peculiar  interest,  as  being  the  last  of  his  productions.  His 
death  happened  a  few  days  after. 

The  principal  charm  in  the  style  of  Raphael  is,  that,  while  he 
gives  to  nature  all  that  grace  and  fancy  can  bestow,  he  leaves 
her  nature  still.  In  the  mild  and  simple  beauty  of  his  Ma- 
donna, we  view  the  absence  of  all  rude  and  evil  passions — we 
gaze  on  that  meek  countenance,  expressive  of  all  a  mother's 
tenderness,  and  every  pure  and  holy  remembrance  rushes  upon 
our  heart. 

In  the  deep  meaning  of  the  mild  full  eye,  in  the  holy  expres- 
sion, the  spotless  form  of  the  divine  child,  we  acknowledge  the 
nearest  approach  ever  made  by  genius  to  our  unbreathed  con- 
ceptions of  an  infant  Saviour. 

In  his  splendid  painting  of  the  Dispute  on  the  Sacrament,  we 
see  his  genius  struggling  to  force  her  way  from  the  shackles  of 
bad  habit.  The  upper  part  is  in  the  style  of  Pcrugino,  though 
dignified  and  enlarged ;  the  lower  is  his  own.  Every  feature, 
limb,  motion ;  the  draperies,  the  lights  and  shades  of  the  lower 
part,  are  toned  and  varied  by  character.  We  see  the  florid 
bloom  of  youth  tinged  with  the  glow  of  eagerness — the  stern 

*  Cartoons  are  composed  of  several  sheets  of  paper  of  a  middling:  thick- 
ness, pasted  upon  one  another.  W  hen  a  wall  is  to  be  painted  in  fresco, 
the  painter  has  the  fitrures  first  traced  on  these  cartoons :  he  then  places 
them  against  the  wall,  and  traces  i);e  figures  on  the  plaster,  by  passing  a 
steel  point  over  the  tracks  in  the  cai  toons,  or  by  pricking  them. 


34 


PAINTING. 


and  vigorous  tint  of  manhood,  and  the  sickly  hue  of  cloistered 
meditation — the  brown  and  sun-tinged  hermit,  and  the  pale 
decrepid  elder,  contrast  with  each  other — and  over  all  is  diffused 
a  serene  and  solemn  light,  keeping  down  the  whole  action  and 
color  of  the  picture. 

The  same  wonderful  power  is  observable  in  his  astonishing 
picture  of  the  Heliodorus.  It  represents  every  variety  of  charac- 
ter— the  angelic — the  devout — the  violent — the  brutal — the  help- 
less— the  delicate.  And  while  this  whirlwind  of  passion 
agitates  the  fore-ground,  and  we  see  the  flash  of  steel  and  iron 
armour, — mingled  with  draperies  of  indigo,  glowing  crimson, 
and  deep  black,  yet  the  entire  scene  is  pervaded  by  a  tone  of 
repose.  A  warm  gleam  issues  from  the  back  ground  of  the 
sanctuary ;  a  dark  hue  of  golden  brown,  which  moderates  and 
tempers  the  whole. 

The  style  of  Raphael  has  justly  been  characterized  as  the 
dramatic,  that  of  Michael  Angelo  as  the  epic,  of  painting. 
The  whole  range  of  art  and  poetry  never  has  produced  more 
magnificent  creations  than  those  half-divine  beings  embodied 
by  the  pencil  of  Michael  Angelo.  There  he  reigns  unapproach- 
ed  and  alone.  But  when  the  interest  is  to  be  derived  from 
human  forms,  he  fails.  His  line  can  never  want  grandeur ; 
but  grandeur  usurps  the  place  of  feeling. 

Human  affection  mingles  in  every  touch  of  Raphael.  His 
attitudes  are  noble,  expressive  and  unaffected.  In  grandeur  of 
invention,  he  was  surpassed  by  Buonarotti ;  Titian  excelled 
him  in  coloring,  and  Corregio  in  gradation  of  tone ;  but  in 
composition,  grace,  expression,  and  the  power  of  telling  a 
story,  he  has  never  been  equalled. 


PAINTING. 


35 


He  died  on  Good  Friday,  on  which  day  he  was  also  born, 
aged  3G,  A.  D.  1520.  In  private  life  Raphael  was  universally 
beloved.  In  many  of  his  groups,  he  has  transmitted  his  own 
likeness  to  us.  In  the  deep  blue  eye,  the  mild  and  almost  femi- 
nine softness  of  expression,  and  the  long  fair  hair  which  shades 
his  countenance,  we  can  trace  the  same  graceful  and  natural 
harmony  which  distinguishes  his  works. 

We  are  told  that  the  emulation  which  existed  between  him 
and  Michael  Angelo  sometimes  degenerated  into  jealousy.  Yet 
each  had  his  own  independent  sphere :  and  neither  in  the 
Roman  or  Florentine  School,  has  any  succeeding  artist  exhibit- 
ed the  genius  of  their  respective  founders. 

The  superior  principles  of  painting ;  viz.  design  and  expres- 
sion, had  now  arrived  at  perfection  both  at  Florence  and  Rome. 
In  the  mean  time,  the  inferior  but  more  alluring  charm  of  color 
began  at  Venice  to  add  a  magic  to  the  art  hitherto  unknown. 
Titian  may  be  regarded  as  the  founder  of  the  Venetian  school. 
His  immediate  predecessors  were  Giovanni,  Gentile  Bellino,  and 
Goirgione. 

The  two  Bellinos  were  the  sons  of  Giacomo  Bellino,  a  paint- 
er of  Venice ;  who  was  more  famous  for  the  good  education 
which  he  gave  to  his  sons,  than  for  skill  in  his  profession.  His 
eldest  son,  Gentile,  painted  several  good  pieces  in  design  for  the 
Council  Hall  at  Venice.  Mahomet  II.  Emperor  of  the  Turks, 
celebrated  in  history  as  the  conqueror  of  Constantinople, 
having  seen  one  of  his  pictures,  wrote  to  the  Senate,  requesting 
that  Bellino  might  be  sent  to  him. 

The  painter  was  well  received  by  the  Grand  Signior,  and 
executed  several  works  for  his  highness,  which  were  much 


36 


PAINTING. 


approved.  As  the  Turks  had  a  great  veneration  for  St.  John 
the  Baptist,  Mahomet  desired  Bellino  to  represent  the  Decolla- 
tion. When  the  painting  was  finished,  Gentile  brought  it  into 
the  presence  of  the  Grand  Signior,  and  requested  his  opinion  of 
its  merits. 

The  Sultan  remarked  that  the  skin  of  the  neck  w^hich  was 
separated  from  the  body  v/as  too  high — *  because,' added  he, 
*  the  head  is  no  sooner  cut  off,  than  the  skin  of  the  neck  shrinks 
back.'  Gentile  submitted  to  so  competent  a  judge ;  but  the 
Sultan  being  desirous  of  giving  him  a  striking  proof  of  the 
justice  of  his  criticism,  ordered  the  head  of  a  slave  to  be 
instantly  struck  off  in  his  presence.  The  painter,  frightened  at 
this  practical  demonstration,  soon  after  invented  some  excuse  for 
taking  leave  of  the  illustrious  critic.  He  was  dismissed  with  many 
noble  presents.  The  Sultan  put  a  gold  chain  round  his  neck, 
and  recommended  him  so  strongly  to  the  Venetian  Senate,  that 
they  granted  him  the  order  of  St.  Mark,  and  a  considerable 
pension  for  life.    He  died  aged  80^  A.  D.  1501. 

His  brother,  Giovanni,  was  the  instructer  both  of  Giorgione 
and  Titian.  Several  of  his  pieces  are  still  to  be  seen  in  Venice. 
His  last  work  was  a  Bacchanal,  which  he  painted  for  Alphonso 
I.  Duke  of  Ferrara.  His  death  having  prevented  its  com- 
pletion, Titian  finished  it,  Giovanni  Bellino  died  in  1512, 
aged  90. 

Giorgione,  the  fellow  pupil  of  Titian  was  born  at  Castel- 
Franco,  in  the  Venetian  States,  A.  D.  1478.  His  genius  soon 
rose  superior  to  that  of  his  master,  and  in  order  to  improve  his 
style,  he  applied  himself  diligently  to  the  study  and  meditation 
of  nature. 


Titian  was  extremely  pleased  with  the  boldness  and  novelty  of 
Giorgione's  manner,  and  by  imitating  and  improving  upon  it,  is 
said  to  have  excited  the  jealousy  of  that  artist  so  strongly  that  he 
forbid  him  his  house. 

Giorgione  was  the  first  who  found  out  the  admirable  effects  of 
strong  lights  and  shadows,  and  made  use  of  bold  colors.  It  has 
been  frequently  a  matter  of  surprise  to  connoisseurs,  by  what 
means  he  soared  so  suddenly  from  the  low  and  dull  coloring 
of  Bellino,  to  the  force  and  brilliancy  which  distinguish  his 
paintings. 

His  landscapes  are  exquisite ;  and  although  Titian  greatly 
excelled  him,  it  is  certain  that  Giorgione  first  pointed  out  the 
way  to  the  attainment  of  that  excellence.  It  is  even  probable 
that  had  the  existence  of  Giorgione  been  prolonged,  Titian 
might  not  have  been  considered,  as  he  now  is,  the  head  of  the 
Venetian  School.  Giorgione  died  in  the  thirty-second  year  of 
his  age,  A.  D.  1511. 


38 


PAINTING. 


CHAPTER  VI. 

Birth  of  Titian — Studies  under  Bellino- — His  beauties  and  defects^ — Brillian-^ 
cy  of  his  coloring — Manner  in  which  it  was  produced — His  paintings-— 
Four  styles  observable  in  his  v/orks — Birth  of  Corregio — Considered  the 
founder  of  the  Lombard  School-— Sketch  of  his  life- — His  principal 
works — The  style  of  Corregio — His  poverty— Cause  of  his  death^ — Paint- 
ing at  its  highest  state  of  perfection — Begins  to  decline — Of  Julio  Ro- 
mano— Faults  and  beauties  of  his  works- — Of  Parmegiano — His  style  of 
painting — Is  patronized  by  Clement  VH — Anecdote  of  Parmegiano-^ 
Pellegrino  Tibaldi— Anecdote  concerning  him — Is  patronized  by  Gregory 
Xni. — Goes  to  Spain— Paints  the  Escurial — Dies  at  Milan — Of  Tintoretto 
— His  style  of  painting— His  enthusiasm  for  the  art — His  numerous  works 
■ — Maria  Tintoretta,  his  daughter — Of  Paul  Veronese — The  beauties  and 
defects  of  his  style— 11  is  'Marriage  at  Cana Difficulty  of  following 
the  division  of  the  schools — Of  Daniel  de  Volterra — His  '  Descent  from 
the  Cross  ' — Of  Andrea  del  Sarto — The  modes  of  Venice  and  Lombardy 
prevail. 

TiziANO  Vecelli,  commonly  called  Titian,  was  born  at  Ca- 
dore,  in  Friuli,  a  province  in  the  Venetian  territories,  A.  D.  1477. 
He  was  of  noble  extraction,  being  descended  from  the  ancient 
house  of  Vecelli.  He  studied,  as  we  have  already  observed, 
under  Bellino,  and  was  first  roused  to  emulation  by  the  success 
of  Giorgione. 

The  chief  defect  of  Titian  was  in  composition,  and  poetic 
fancy.  He  penetrated  the  very  secrets  of  nature  in  all  her 
varied  effects  of  shade  and  color ;  but  he  wanted  the  power  of 
selecting  from  nature,  and  of  correcting  her  defects,  by  his  own 
imagination.  The  Venetian  painters  were  destitute  of  ancient 
models  by  which  to  form  their  style.  They  copied  without 
choice  the  forms  of  nature ;  but  they  delighted  in  representing 
the  variety  and  beauty  of  natural  color. 

In  this  brilliancy  of  tone  and  hue,  Titian  was  unrivalled. 


39 


Three  principles  may  be  remarked  as  distinguishing  his  stylci 
In  the  first  place,  the  interposing  medium  between  the  eye  and 
the  object  is  a  mellow  golden  light.  Secondly,  the  splendor  of  hig 
colors  is  effected  by  painting  in  under-tones ;  not  by  rich  tints 
lavished  on  particular  spots.  There  is  a  general  gradation  of 
tone  throughout  the  whole  picture,  by  which  his  most  glowing 
and  gorgeous  lights  are  produced. 

Then  in  all  his  shadows  and  under-tones  there  are  a  thou- 
sand flickering  lights  and  hues ;  all  softened  and  blended  to- 
gether. For  this  reason,  though  it  seems  apparently  easy  to 
copy  Titian,  nothing  is  more  difficult  than  to  imitate  at  once  his 
correctness  and  splendor. 

There  are  fifty  pictures  of  Titian's  to  be  seen  at  Venice,  in 
which  four  different  styles  are  observable  ;  and  nothing  is  more 
encouraging  to  a  young  artist,  than  to  trace  the  steps  by  which 
these  great  masters  of  the  art  rose  to  excellence. 

The  first  style  is  dry ;  in  it  we  trace  the  defects  of  his  master 
Bellino.  The  second  is  bold.  It  was  copied  from  his  rival 
Giorgione.  The  third  was  his  own.  It  consists  of  a  just  and 
beautiful  imitation  of  nature,  in  all  her  most  varied  shades  of 
tone  and  color. 

The  fourth  manner  is  freer,  and  less  labored.  He  practised 
it  towards  the  decline  of  life.  In  composition  and  design,  the 
painters  of  the  Roman  School  surpassed  Titian,  but  in  the 
mastery  of  coloring  he  stands  without  a  rival. 

One  charm  was  now  wanting  to  complete  the  perfection  of 
the  art.  This  was  harmony.  It  appeared  with  Antonio  Allegri, 
better  known  as  Corregio,  so  called  from  the  name  of  his  native 
place.  This  artist  is  considered  as  the  founder  of  the  Lombard 
School.    He  was  born  in  1494,  of  humble  parents. 


40  pAtmtm^ 

From  the  bosom  of  poverty — without  master,  withotit  portion^ 
without  even  the  most  common  advantages  of  education,  hii^ 
genius  rose  superior  to  circumstances,  and  broke  forth  with  a 
splendor  which  almost  appeared  miraculous,  even  in  that  age  of 
knowledge. 

He  courted  no  favor ^  he  had  seen  no  master-pieces  either  of 
ancient  or  modern  art,  by  which  to  form  a  model.  He  had  not 
visited  Rome.  The  w^onders  of  antiquity  were  unknown  to 
him.  But  he  contemplated  nature.  Her  silent  beauties  spoke 
to  his  heart,  and  inspired  his  pencil.  We  are  told  that  the 
fame  of  Raphael  tempted  him  to  go  to  Rome.  He  stood  for 
some  time  before  the  pictures  of  that  great  master.  His  eyes 
Were  rivetted  on  them,  but  he  did  not  speak.  At  length  he 
broke  silence.  '  Anch  'io  sono  pittore,'  exclaimed  he  ;  '  I  also 
am  a  painter  ! ' 

The  principal  works  of  Corregio  are  the  two  noble  cupolag 
painted  in  fresco,  which  adorn  the  cathedrals  of  Parma ; — one 
subject,  the  Assumption  of  the  Virgin,  the  other,  the  Ascension 
of  our  Saviour.  His  most  valuable  easel-painting  is  in  the 
Dresden  gallery.    It  is  called  '  Night.' 

The  harmony  and  grace  of  this  artist  are  proverbial.  Hig 
exquisite  management  of  light  and  shade,  his  power  of  blending 
light  and  darkness  imperceptibly,  was  his  chief  beauty.  '  Every- 
thing I  see,'  said  Annibale  Caracci,  on  beholding  these  works 
fifty  years  afterwards,  '  astonishes  me ;  particularly  the  coloring 
dnd  beauty  of  the  children,  who  live,  breathe,  and  smile,  with 
so  much  sweetness  and  vivacity,  that  we  are  constrained  to 
Sympathize  in  their  enjoyment.' 


PAINTING. 


41 


The  harmony  of  Corregio  did  not  depend  upon  coloring. 
His  great  organ  was  chiaro-scuro,  in  which  his  paintings  appear 
to  float,  affecting  us  with  the  soft  emotions  of  a  delightful  dream. 
He  has  been  blamed  as  wanting  force,  and  as  sinking  occasion- 
ally from  softness  to  effeminacy,  and  from  grace  to  monotony. 
Yet  the  delicacy  and  sweetness  of  his  tints,  together  with  his 
inimitable,  grave,  and  perfect  harmony,  are  qualities  which  dis- 
tinguish the  paintings  of  Corregio  from  those  of  all  other 
artists. 

It  is  painful  to  be  informed  that  the  talents  of  this  eminent 
master  never  drew  him  out  of  poverty ;  and  that  he  died  at 
Parma,  unrewarded,  and  comparatively  unknown.  Having 
upon  one  occasion  gone  to  Parma  to  receive  fifty  crowns,  he 
was  paid  in  a  sort  of  copper  money,  called  Quadrinos.  It  is  said 
that  overjoyed  at  receiving  what  he  considered  so  large  a  sum, 
and  anxious  to  display  his  treasure  to  his  wife,  he  set  off  on  a 
very  sultry  day  loaded  with  the  coin,  and  carried  it  to  his  own 
residence,  twelve  miles  from  the  city.  The  fatigue  threw  hira 
into  a  pleurisy,  which  carried  him  off  at  the  age  of  39, 
A.  D.  1513. 

We  do  not  find  that  Corregio  borrowed  anything  from  the 
works  of  others.  His  conceptions,  design,  and  coloring,  were 
all  his  own.  Never  perhaps  in  the  annals  of  genius  did  there  exist 
a  name  more  truly  deserving  the  popular  epithet  of  hcnacn-born 
than  his.  *  His  pencil,'  says  an  old  French  author,  '  ?cems 
always  to  have  been  guided  by  the  hand  of  an  angel.' 

The  establishment  of  these  four  primitive  schools, — the 
Florentine,  the  Roman,  the  Lombard,  and  the  Venetian,  may 
be  said  to  embrace  the  golden  age  of  painting.    It  might  have 


42 


PAINTING. 


been  expected  that  the  effect  of  these  brilliant  examples,  would 
have  been  the  production  of  still  greater  excellence.  But  it 
seems  as  if  there  were  a  boundary  set  to  the  exertions  of  man, 
beyond  which  he  is  not  permitted  to  pass. 

Neither  the  patronage  of  the  most  illustrious  persons,  nor 
the  ambition  of  the  most  skilful  artists,  were  found  capable  of 
preventing  the  downfall  of  the  arts  in  Italy.  The  reign  of 
genius  was  brief  as  it  was  bright.  The  same  individual  might 
have  lived  during  the  time  of  all  the  great  masters  we  have 
enumerated,  and  might  even  have  survived  them  all.  He 
might  have  seen  the  art  in  its  infancy  and  manhood,  and  he 
might  also  have  witnessed  its  decline. 

But  Painting  lingered  in  her  fall,  and  still  hovered  over  her 
favorite  and  favored  land.  So  bright  were  the  clouds  that  ac- 
companied the  sunset  of  genius,  as  to  render  it  difficult  to  be- 
lieve that  the  luminary  had  indeed  departed.  Amongst  those 
who  upheld  the  fading  glories  of  the  art,  were  Julio  Romano, 
Francesco  Parmegiano,  Pelegrino  Tibaldi,  and  Tintoretto. 

Julio  Romano  was  the  most  eminent  of  the  pupils  of  Raphael. 
His  views  were  stupendous,  and  his  poetical  ideas  striking  and 
beautiful;  but  he  wanted  the  judgment  and  delicacy  of  taste 
which  distinguished  the  works  of  his  master.  After  the  death 
of  Raphael,  he  adopted  a  style  of  his  own,  which,  though  origin- 
al and  expressive,  was  often  wanting  in  truth  and  purity. 

The  manner  of  this  artist  is  seen  to  most  advantage  in  his 
paintings  at  Mantua.  ,His  coloring  is  bad,  and  he  seems  to  have 
had  but  a  poor  conception  of  the  principles  of  chiaro-scuro. 
A  fierceness  in  the  design,  and  a  grandeur  of  expression,  ren- 
der his  paintings  easy  to  be  distinguished.    Had  his  taste  been 


PAINTING. 


43 


as  pure,  as  his  imagination  was  lofty,  it  is  probable  that  he 
would  have  had  few  competitors.  As  it  is,  his  works  have 
been  likened  to  a  mighty  stream,  sometimes  full  and  flowing, 
but  oftener  choaked  up  with  rubbish. 

Julio  died  at  Mantua,  A.  D.  1546,  in  the  54th  year  of  his  age. 
A  fine  palace  near  that  city,  built  under  his  direction,  con- 
tains most  of  his  best  performances.  They  afford  strong 
proofs  of  the  grand  conceptions,  and  the  luxurious  reveries,  in 
which  his  imagination  seems  to  have  constantly  revelled. 

Francesco  Mazzuolo  was  born  A.  D.  1504,  and  was  sur- 
named  Parmegiano,  from  his  native  town  of  Parma.  He  stu- 
died the  works  both  of  Michael  Angelo  and  Raphael,  but  chief- 
ly of  the  latter.  His  style  was  easy  and  graceful,  and  his  at- 
titudes beautiful.  But  although  he  had  a  lively  invention,  his 
understanding  was  neither  profound  nor  extensive.  His  ge- 
nius was  somewhat  superficial ;  yet  his  works  are  always  pleas- 
ing. He  did  not  sufllciently  consult  nature,  but  rather  reduced 
her  to  a  habit  of  his  own.  This  in  painting  is  what  is  termed 
manner. 

He  enjoyed  the  favor  of  Pope  Clement  VII.  and,  when  the 
Spaniards  entered  Rome,  and  pillaged  the  city,  Parmegiano 
continued  his  work,  as  though  he  had  been  in  the  utmost  secu- 
rity. We  are  told  that  some  Spanish  soldiers  who  entered  his 
house,  were  so  much  struck  with  his  courage  as  well  as  with 
his  paintings,  that  they  left  him  uninjured. 

In  his  latter  days,  he  gave  himself  up  entirely  to  tlie  study 
of  Chemistry,  in  which  pursuit  he  wasted  both  his  money  and  his 
health. 

Pelegrino  Tibaldi  was  born  at  Bologna,  and  was  the  son  of 
4* 


44 


PAINTING. 


a  Milanese  architect.  Both  in  painting  and  architecture,  he 
was  one  of  the  best  masters  of  his  time.  He  first  showed  his 
talents  at  Rome,  but  was  so  discouraged  at  the  low  price  which 
he  received  for  his  pictures,  that  he  abandoned  himself  to  des- 
pair. We  are  told  that  upon  one  occasion  he  was  found  by 
Pope  Gregory  XIII.  lying  in  a  field,  bemoaning  his  hard 
fate,  and  declaring  his  firm  resolution  to  starve  himself  to  death. 

By  the  assistance  of  his  Holiness,  Pelegrino  was  afterwards 
raised  to  great  reputation.  By  the  invitation  of  Philip  II. 
he  went  to  Spain,  where  he  directed  the  painting  and  archi- 
tecture of  the  Escurial.  He  died  at  Milan,  loaded  with  riches 
and  honor,  in  the  seventy-first  year  of  his  age. 

Giacomo  Robusto,  surnamed  Tintoretto,  because  he  was 
the  son  of  a  dyer,  was  the  pupil  of  Titian,  and  one  of  the 
greatest  ornaments  of  the  Venetian  school.  He  imitated  Ti- 
tian in  brilliancy  of  coloring,  and  Michael  Angelo  in  grandeur 
of  design.  He  is,  even  more  than  Titian,  the  founder  of  the 
ornamental  style. 

All  Venice  was  filled  with  the  productions  of  this  brilliant 
artist.  He  loved  his  profession  with  enthusiasm,  and  seems 
to  have  worked  more  for  amusement  than  profit.  He  fre- 
quently sacrificed  propriety  and  correctness  to  vigor  and  free- 
dom; yet  there  are  paintings  in  which  he  even  surpasses 
Titian. 

His  despatch  was  wonderful;  and  although  he  passed  a 
life  of  constant  exertion,  he  lived  to  the  age  of  eighty-two. 
In  the  school  of  St.  Roque,  at  Venice,  there  is  a  crucifix  paint- 
ed by  him,  which  is  much  admired.  He  died  A.  D.  1594. 
His  daughter,  Maria  Tintoretto  was  celebrated  as  a  portrait 


PAINTING. 


45 


painter.  She  was  one  of  the  most  accomplished  women  of 
her  time,  and  tenderly  beloved  by  her  father,  whose  chief 
pleasure  was  in  the  cultivation  of  her  talents. 

Paul  Veronese  was  born  at  Verona,  in  1537.  He  was  in 
some  measure  the  rival  of  Tintoretto.  His  coloring  is  fresh 
and  magnificent,  but  his  drawing  wants  both  taste  and  correct- 
ness. He  worked  with  ease,  but  not  with  sufficient  care.  In 
St.  Mark's  Palace  at  Venice,  in  the  high  altars  of  the  Vene- 
tian churches,  and  in  many  of  the  noblemen's  houses  there, 
we  may  still  see  specimens  of  his  talents. 

His  chief  work  is  the  marriage  of  Cana,  in  the  church  of  St. 
Giorgio,  at  Venice.  The  beauty  of  the  draperies,  the  har- 
mony of  the  colors,  and  the  freedom  of  execution  which  dis- 
tinguish this  picture,  render  it  not  only  the  finest  performance 
of  Paul  Veronese,  but  one  of  the  most  valuable  works  of 
modern  art. 

It  soon  becomes  difficult,  indeed  impossible,  to  follow  de- 
cidedly the  division  of  the  ancient  schools.  The  more  simple 
style  of  Raphael  gradually  disappeared,  and  the  design  of 
Michael  Angelo  prevailed.  Daniel  de  Volterra,  who  surviv- 
ed till  1566,  was  a  decided  follower  of  the  Florentine  school. 
His  famous  painting,  is  the  Descent  from  the  Cross  in  the 
church  of  Trinita  del  Monte,  at  Rome. 

Andrea  del  Sarto  held  an  intermediate  style  between  the  two 
masters.  The  luxurious  modes  of  Venice  and  Lombardy 
tended,  in  a  great  measure,  to  extinguish  the  severe  simplicity 
of  the  other  schools. 


46 


PAINTING. 


CHAPTER  VII. 

The  Eclectic,  or  Bolognese  school  founded  at  Bologna. — The  three 
Caraccis. — Account  of  their  Academy. — Of  Ludovico  Caracci. — His 
peculiar  style. — Of  Annibale  Caracci. — For  what  his  manner  is  dis- 
tinguished.— Paints  the  Farnesian  Gallery. — Of  Agostino  Caracci. — 
Immediate  pupils  of  the  Caracci. — Domenichino. — His  studious  habits 
and  love  of  the  art. — Anecdote  concerning  him. — His  works. —  Remark 
of  Poussin. — Death  of  Domenichino  hastened  by  persecution. — Of  Guido 
Reni. — In  what  his  chief  excellence  consists. — Of  Albani. — Style  of  his 
works. — Of  Guercino. — An  account  of  his  manner.— Michael  Angelo 
Caravaggio. — His  style  of  Painting. — Challenges  a  noble  Italian. — 
Becomes  a  knight  of  Malta. — His  death. — Ptapid  decline  of  the  arts  in 
Italy. — Of  Da  Cortona  and  Luca  Giordano. — Poussin  attempts  to  im- 
prove the  taste  of  the  age, — Of  Carlo  Dolci. — Painting  in  Italy  termi- 
nates with  Salvator  Rosa. 

Towards  the  close  of  the  16th  century,  the  progress  of  de- 
cline was  stayed  for  a  time  by  the  foundation  of  a  new  school. 
This  was  the  Eclectic,  founded  at  Bologna  by  the  three  Car- 
accis,— Ludovico,  Agostino,  and  Annibale.  Its  aim  was,  to 
select  the  beauties,  correct  the  faults,  supply  the  defects,  and 
avoid  the  extremes  of  all  the  different  styles;  and  thus  to 
establish  a  perfect  system. 

It  is  generally  called  the  Academy  of  the  Caracci,  and  gave 
rise  to  many  artists  of  high  name  and  merited  celebrity. 
Ludovico  was  born  in  1555.  He  was  cousin  to  Annibale  and 
Agostino,  and  being  older  than  them,  instructed  them  both  in 
painting.  He  studied  the  works  of  all  the  great  masters  at 
Venice,  Florence,  and  Mantua;  but  the  manner  of  Corregio 
touched  him  most  forcibly;  and  he  followed  it  ever  after. 
All  the  young  students,  who  gave  promise  of  future  fame,  re- 
sorted to  the  Academy  of  the  Caracci.  There  they  received 
lessons  proportioned  to  their  qualifications. 


PAINTING. 


47 


Every  body  was  well  received  by  them,  and  the  young  men, 
excited  by  emulation,  passed  whole  days  and  nights  in  study. 
Ludovico's  charge  was  to  make  a  collection  of  antique  statues 
and  basso-relievos.  Antony  de  la  Tour,  an  anatomist,  gave 
lessons  in  anatomy,  as  far  as  regarded  the  movement  of  the 
the  muscles.  Difficult  questions  were  frequently  proposed 
in  the  Academy  by  painters,  and  other  men  of  science,  which 
exercised  the  skill  and  judgemnt  of  the  scholars. 

Ludovico  was  the  decided  pupil  of  nature.  He  did  not  fol- 
low blindly  the  dictates  of  any  particular  school.  In  the  sim- 
plicity and  purity  of  his  style  he  surpassed  both  his  kinsmen, 
and  in  some  measure  restored  the  art  to  its  first  and  greatest 
principles. 

'  His  unaffected  breadth  of  light  and  shadow,'  says  Reynolds, 
^  the  simplicity  of  his  coloring,  and  the  solemn  effect  of  that 
twilight  which  seems  diffused  over  his  pictures,  appear  to  me 
to  correspond  with  grave  and  dignified  subjects,  better  than  the 
artificial  brilliancy  and  sunshine  which  enlighten  the  pictures 
of  Titian.' 

Annibale  was  sent  for  by  Cardinal  Farnese,  to  paint  the  gal- 
lery at  Rome  which  bears  that  prelate's  name.  The  design  of 
these  paintings  is  perhaps  loaded,  notwithstanding  which  it  is 
difficult  to  condemn  them.  His  pencil  is  distinguished  for  the 
firmness  of  its  touch.  His  style  is  bold,  splendid,  and  broad. 
Agostino  excelled  more  in  the  theory,  than  in  the  practice  of 
the  art. 

Of  the  immediate  pupils  of  the  Caracci,  we  may  first  men- 
tion Domenichino.  He  was  born  at  Bologna,  A.  D.  1551, 
His  disposition  was  studious,  gentle  and  thoughtful.    He  lov- 


48 


PAINTING. 


ed  solitude,  and  was  remarkable  for  the  mildness  and  gentle- 
ness of  his  temper.  When  he  studied  with  the  Caracci,  he  la- 
bored so  hard  that  his  fellow  students  used  jestingly  to  call  him 
the  Ox ;  and  say  that  he  labored  like  that  animal  at  the  plough. 

'  The  Ox/  said  Annibale,  '  will  in  time  make  the  ground  so 
fruitful,  that  painting  itself  will  be  fed  by  what  it  produces.' 
His  works  in  Rome,  Naples,  and  the  Farnesian  grotto,  are 
eternal  proofs  of  his  genius.  Poussin,  a  celebrated  French  paint- 
er, used  to  say  that,  '  Raphael's  Transfiguration,  Daniel  di 
Volterra's  Descent  from  the  Cross,  and  Domenichino's  St. 
Jerome,  were  the  three  best  pictures  in  Rome.'  It  is  said  that 
notwithstanding  the  excellent  disposition  and  universal  benev- 
olence of  Domenichino,  envy  and  persecution  hastened  his 
death.    He  died  at  Naples,  A.  D.  1648. 

This  distinguished  artist  was  by  no  means  free  from  the  fault 
of  the  Caracci  school — loaded  design.  Nor  did  he  excel  in  the 
grouping  of  his  figures.  Yet  in  expressing  the  passions,  and 
in  the  attitude  of  his  heads,  he  frequently  equals  Raphael  him- 
self 

Guido  Reni  was  another  celebrated  pupil  of  the  Caracci 
academy.  He  was  born  at  Bologna,  in  1574.  He  was  cele- 
brated for  the  exquisite  grace  of  his  style,  though  it  was  some- 
times too*  artificial.  His  female  forms  are  models  of  antique 
beauty.  He  excelled  in  the  expression  of  the  mouth,  in  the 
noble  and  graceful  folds  of  the  draperies,  and  in  an  air  of 
sweetness  and  tenderness  which  pervades  the  whole  expression. 
The  most  noted  of  his  pieces  is  in  the  church  of  St.  Gregory, 
at  Rome.  Towards  the  decline  of  life,  he  was  seized  with  an 
immoderate  passion  for  gambling,  which  reduced  him  from  af» 
fluence  to  poverty.    He  died  at  Bologna  aged  66,  A.  D.  1640^ 


PAINTING. 


49 


Albani,  the  painter  of  the  Loves  and  Graces,  was  Guide's  con- 
temporary. All  his  Cupids  represent  his  own  children,  and  his 
wife,  being  extremely  beautiful,  served  him  as  a  model  for  all 
his  Nymphs  and  Venuses.  His  mind  seems  to  have  been  filled 
with  their  image,  and  his  figures  have  constantly  the  same  air 
and  likeness. 

His  coloring  is  brilliant,  and  his  attitudes  and  draperies  are 
well  chosen.  He  was  a  universal  painter,  and  his  landscapes  are 
more  agreeable  than  learned.  There  is  a  want  of  free  touches 
in  most  of  his  compositions,  which  are  almost  all  of  a  gay  and 
joyous  nature.  As  few  of  his  pictures  are  extant;  they  are 
now  valued  in  proportion. 

Dancing  Loves,  smiling  Graces,  and  sleeping  iVymj)hs  adorn 
the  foreground  of  almost  all  his  landscapes.  He  died  A.  D. 
1660,  aged  82. 

Guercino  was  a  pupil  of  tlic  Eclectic  school,  who  endeavor- 
ed to  improve  upon  the  style  of  Guido  and  Albani,  by  giving 
more  force  to  his  manner.  His  design  is  grand  and  natural, 
but  wanting  in  elegance.  His  colors  have  great  harmony  and 
softness,  but  he  wants  selection  in  his  figures,  which  are  seldom 
noble  or  elevated.    He  died  at  Bologna',  A.  D.  1667. 

Michael  Angelo  Caravaggio  was  another  celebrated  pupil 
of  this  academy,  who,  by  the  novelty  of  his  style,  drew  after 
him  almost  the  whole  school  of  the  Caracci.  He  followed  his 
models  so  exactly,  that  he  imitated  their  defects  as  well  as 
their  beauties.  His  pictures  are  to  be  met  with  in  most  of  the 
cabinets  of  Europe.  His  style  of  painting  was  strong,  true, 
and  effectual;  but  his  attitudes  arc  ill  chosen,  and  his  figures 
want  grace  and  nobleness. 


50 


PAINTING. 


Having  challenged  an  Italian,  named  Tomasino,  the  latter 
replied  that  he  was  a  knight,  and  would  not  fight  with  his  infe- 
rior. Caravaggio,  nettled  at  this  answer,  hastened  to  Malta, 
performed  his  vows,  and  received  the  order  of  knighthood  as  a 
serving-brother.  He  then  returned  to  Rome,  with  the  inten- 
tion of  forcing  Gioseppino  to  meet  him;  but  a  fever  put  an 
end  to  his  life  and  to  the  dispute  at  the  same  time,  A.  D.  1609. 

The  arts  were  now  rapidly  declining  in  Italy.  Da  Cortona 
and  Luca  Giordano  were  painters  who  possessed  great  powers, 
but  abused  them  by  yielding  a  blind  obedience  to  the  tasteless 
suggestions  of  their  employers.  Nicholas  Poussin,  a  French- 
man, endeavored  to  stem  the  torrent  of  corrupted  taste.  He 
copied  from  the  purest  sources  of  Grecian  art.  The  dress, 
the  religion,  the  ceremonies  of  the  ancients,  were  his  ele- 
ments; and  his  paintings  seem  to  breathe  a  classic  air. 

The  name  of  Carlo  Dolci,  the  Florentine,  and  imitator  of 
Guido,  is  also  one  which  still  arrests  the  attention.  But  the 
history  of  painting  in  Italy,  at  least  of  painting  animated  by 
genius,  terminated  with  Salvator  Rosa. 

The  eighteenth  century  in  Italy  produced  Carlo  Maratti. 
He  had  talent,  but  it  was  lost  in  mannerism  and  affectation. 
He  died  in  1713.  Garzi  and  Cignani  after  his  death  sustained, 
for  a  short  time,  the  expiring  glory  of  the  Roman  school. 

Over  the  living  art  of  Italy,  Camuccini,  at  Rome,  and  Ben- 
venuti,  at  Florence,  preside.  The  former  is  the  best  draughts- 
man in  Europe,  but  his  coloring  is  inferior.  He  wants  depth, 
harmony,  and  force.  His  expression  is  noble,  but  cold.  We 
see  in  his  paintings  none  of  that  warm  gush  of  sentiment, 
which  rivets  our  attention  to  the  works  of  the  ancient  masters. 


PAINTING. 


51 


Benvenuti  is  a  good  colorist;  his  groups  are  well  disposed, 
his  chiaro-scuro  is  forcible;  but  he  fails  in  purity  of  drawing, 
taste  and  selection.  Camuccini's  best  work  is  the  Departure  of 
Regulus;  Benvenuti's,  a  scene  in  the  recent  history  of  Saxony. 
There  are  also  some  good  foreign  painters  in  Rome,  but,  of  na- 
tive talent  in  that  art,  there  is  little  worthy  of  notice.  Liberty 
and  genius  have  declined  together  in  Italy;  and  till  freedom 
is  restored,  it  is  probable  that  the  arts  will  lie  dormant. 

*  Painting,  Poetry,  Sculpture,  and  Music,  are  the  natural  off- 
spring of  the  heart  of  man.  The  tongue  of  poetry  is  occasionally 
silent,  and  the  hand  of  painting  sometimes  stayed;  but  they  are 
heard  and  seen  again  in  their  season,  like  the  birds  and  flow- 
ers at  the  coming  of  spring.  The  offspring  of  nature,  rather 
than  of  necessity  or  accident,  they  can  never  be  wholly  lost, 
even  in  the  most  disastrous  changes.' 


52 


PAINTING. 


CHAPTER  VIII. 

Of  the  Trans- Alpine  School. — Of  the  German,  Flemish,  and  Dutch.— The 
Gothic,  or  German  style. — Manner  of  painting  in  that  style. — Principal 
masters  of  the  Gothic  style. — The  German  ceases  to  be  a  distinct  school. 
— Birth  of  Albert  Durer. — His  talents. — His  works. — Remark  of  Vasari 
concerning  him. — Hubert  and  John  Van-b^yck.— Patronized  by  the  Duke 
of  Burgundy. — John  Van-Eyck  siirnamed  John  of  Bruges. — Supposed  to 
be  the  inventor  of  oil-painting. — Their  works  held  in  high  estimation  by 
the  contemporary  Italian  artists. — Characteristics  of  the  Dutch  and  Flem- 
ish schools. — Causes  of  the  progress  of  the  art  there. — Lucas  Van  Leyden. 
— His  death  attributed  to  poison. — Artists  of  the  Flemish  school. — Ru- 
bens the  head  of  the  Flemish  school. — Some  account  of  tiiat  artist. — His 
numerous  productions. — His  excellencies  and  defects. — Opinion  of  Sir 
Joshua  Reynolds  concerning  him. —  His  chief  performances. — He  is  made 
Ambassador  to  England. — Is  knighted  by  Charles  I. — Dies  in  Flanders. 
— Contemporaries  of  Rubens. — Of  Teniers. — His  usual  subjects  and  style. 
— Vandyke  ranked  among  tlie  English  painters. — Of  Rembrandt. —  Rem- 
brandt head  of  the  Dutch  school. —  He  has  been  little  imitated. — Peculi- 
arity of  his  style. — Characteristics  of  the  Dutch  school. — The  contempora- 
ries of  Rembrandt. — Of  Gerard  Dhow — His  peculiar  style. — Some  account 
of  his  painting-room  and  manner  of  living.—  Of  the  Spanish  school. — Of 
Velasquez. — Murillo. — Style  of  the  Spanish  school. — Altar-Pieces  of  Mu- 
rillo.—  Hernandez  di  Nudo. — Employed  by  Philip  II. — Anecdote  con- 
cerning Hernandez. 

The  Trans-Alpine  schools  of  painting  next  claim  our  at- 
tention. The  German  is  usually  divided  into  three  distinct 
schools  ;  the  German,  properly  so  called,  the  Flemish,  and  the 
Dutch.  These  distinctions  are  rather  local,  than  depending 
upon  difference  of  manner.  Indeed,  before  the  age  of  Albert 
Durer,  the  only  style  discernible  in  these  schools,  was  that 
called  the  Gothic. 

The  Goihic  pictures  were  usually  painted  upon  oak-wood^ 
sometimes  covered  with  canvass;  and  always  on  a  white  ground. 
Upon  this  the  subject  was  sketched,  and  the  whole  overlaid 


PAINTING. 


53 


with  gjlding.  T?ie  picture  was  then  painted  in  water,  or  size- 
color,  often  with  much  effect,  and  always  with  much  nature 
and  simplicity. 

The  principal  masters  of  this  school  were  Schoen,  born  in 
J420;  Wohlgemuth,  the  instructer  of  Albert  Durer,  and  Muil- 
ler,  or  Kranach.  He  was  the  Burgomaster  of  Wittemburg, 
and  the  personal  friend  of  Luther.  At  the  beginning  of  the 
15th  century,  the  Gothic  style  terminated.  It  was  certainly 
indigenous  to  Germany,  and  when  it  disappeared,  the  German 
school  ceased  to  be  original  or  distinct. 

Albert  Durer  was  born  in  147 1,  at  Nuremburg.  He  was  the 
prince  of  German  artists,  and  the  Da  Vinci  of  his  country. 
He  was  the  son  of  a  jeweller  and  goldsmith,  who  taught  him 
engraving  as  well  as  his  own  trade. 

Durer's  talents  were  universal,  though  he  soon  confined 
them  entirely  to  painting  and  engraving.  In  both  these  arts 
his  works  arc  equally  admirable.  At  the  age  of  eighteen,  he 
travelled  to  Flanders,  and  from  thence  through  Germany  to 
Venice. 

On  his  return,  he  applied  himself  to  the  study  of  design,  in 
which  he  attained  great  excellence.  His  outlines  have  been 
blamed  for  stiffness  and  dryness;  perhaps  they  have  a  rem- 
nant of  the  Gothic  manner,  from  which  he  was  unable  to  free 
himself  entirely. 

But  his  compositions  appear  the  result  of  deep  study;  his 
thoughts  are  ingenious,  and  his  colors  brilliant.  His  finest 
piece  is  his  Melancholy.  His  Madonnas  are  also  singularly 
beautiful.  He  invented,  or  at  least  perfected  the  art  of  etch- 
ing upon  copper.    An  Italian  author  observes  of  Durer: 


54 


PAINTING. 


^  Had  this  excellent  and  exact  artist,  whose  genius  was  so 
universal,  been  born  in  Tuscany,  as  he  was  in  Germany, 
and  had  thus  been  enabled  to  study  the  beauties  of  antiquity, 
he  would  have  been  the  best  painter  in  Italy,  as  he  now  is  the 
greatest  genius  of  the  Flemish  school/  His  contemporary, 
the  celebrated  Hans  Holbein,  although  a  German,  is  general- 
ly reckoned  amongst  the  English  artists. 

Hubert  and  John  Van-Eyck  were  brothers,  natives  of  Maa- 
seyck,  on  the  Meuse,  and  the  first  painters  in  the  Low  Countries 
whose  works  are  worthy  of  notice.  They  studied  together,  and 
were  employed  by  Philip  the  Good,  Duke  of  Burgundy.  In  St. 
John's  Church  at  Ghent  there  is  a  celebrated  picture  by  these 
brothers.  The  subject  is  taken  from  the  Revelations,  and  repre- 
sents the  Elders  adoring  the  Lamb.  Hubert  died  in  1426; 
upon  which  his  brother  John  removed  to  Bruges,  and  is  fre- 
quently called  John  of  Bruges,  in  consequence.  It  is  said  that 
he  discovered  the  method  of  painting  in  oils;  he  at  all  events 
brought  the  art  of  oil  painting  to  great  perfection.  The  paint- 
ings of  both  the  Van-Eycks  have  great  reputation  throughout  all 
Europe,  for  the  softness  and  delicacy  of  their  colors. 

Their  works  excited  so  much  attention  among  the  Italian 
painters,  that  a  contemporary  artist,  named  Antonio  da  Messina, 
performed  a  journey  into  Flanders,  for  the  purpose  of  gaining 
the  confidence  of  John  Van  Eyck,  and  discovering  his  secret. 
John  died  at  Bruges,  A.  D.  1441. 

Fine  coloring  and  exquisite  finish  distinguish  the  Dutch 
and  Flemish  schools.  This  is  undoubtedly  owing  to  their 
knowledge  of  oil  painting  at  a  very  early  period.  The  com- 
mercial wealth,  industry  and  independence  of  the  Flemish 


PAINTING. 


55 


cities,  also  contributed  to  the  rapid  progress  of  painting 
there. 

Many  of  their  most  lucrative  branches  of  trade — tapestry, 
embroidery,  jewelry, — depended  upon,  and  assisted  the  pro- 
gress of  design.  The  Flemish  artists  had  no  Italian  models; 
and  were  thus  left  at  liberty  to  follow  the  dictates  of  their  own 
genius. 

Their  attention  was  almost  exclusively  occupied  by  rich 
coloring,  and  by  the  most  minute  and  precise  imitation  of 
natural  objects.  The  system  of  religion  forms  considerable 
occupation  for  their  talents.  The  church  called  for  altar 
pieces,  and  many  good  specimens  of  that  nature  remain  for 
the  inspection  of  the  curious. 

Private  munificence  also  encouraged  native  talent.  The 
rich  burghers  and  merchants  adorned  their  houses  with  paint- 
ings of  the  most  celebrated  artists,  and  spared  no  expense  in 
gratifying  their  taste  for  tlicse  valuable  ornaments.  Lucas 
Van  Leyden,  the  friend  and  contemporary  of  Albert  Durer, 
was  remarkable  for  his  extreme  diligence  and  energy  in  the 
pursuit  of  his  profession.  His  engravings  were  correct  and 
beautiful,  and  performed  at  a  very  early  age.  He  is  said  to 
have  died  by  poison,  administered  to  him  by  a  rival  painter  of 
Thisbury,  A.  D.  1533. 

His  style  was  superior  to  that  of  Van-Eyck,  and  equal  to 
that  of  Durcr  and  Holbein.  In  the  subsequent  century,  the 
characteristics  of  the  Flemish  school  were  carried  to  the 
utmost  perfection.  Bril,  Steenwyk,  Spranger,  the  Brueghels, 
and  Vanheen,  were  remarkable  for  correct  imitation  of  nature, 
and  wonderful  minuteness  of  finish. 


56 


PAINTING. 


The  head  of  the  Flemish  school  was  Sir  Peter  Paul 
Rubens,  born  at  Antwerp  in  1577;  or,  as  some  say,  at  Cologne. 
This  wonderful  artist,  whose  productions  are  scattered  over 
the  whole  of  Europe,  was  possessed  of  equal  genius  and 
energy.  He  united  the  splendor  of  the  Venetian  school  and 
the  grandeur  of  the  Florentine,  to  a  brilliancy  of  imagination 
entirely  his  own. 

He  had  less  correctness  than  the  best  masters  of  the 
Florentine  school,  less  grace  and  pathos  than  those  of  the 
Roman;  nor  was  he  free  from  the  defects  and  imperfections  of 
the  Flemish  artists. 

But  his  want  of  expression  is  hid  in  the  richness  and  varie- 
ty of  his  figures  and  grouping.  His  want  of  correctness  is 
forgotten  in  the  lightness  and  elasticity  of  his  forms,  and  the 
absence  of  lofty  interest  passes  unnoticed  in  the  splendor  of 
the  general  effect. 

Over  ,  the  whole  is  thrown  the  most  gorgeous  coloring,  a 
play  of  reflected  light,  with  bright  and  harmonious  hues  which 
seem  to  flit  and  change  before  our  eyes, — reminding  us  of  the 
golden  light  that  pours  from  the  stained  windows  of  a  gothic 
church. 

To  use  the  words  of  Sir  Joshua  Reynolds,  '  such  is  the  fas- 
cination of  his  pencil,  that  it  is  only  when  we  are  removed  from 
its  influence,  we  are  willing  to  acknowledge  any  inferiority  in 
Rubens,  to  any  other  painter  whatever.' 

The  Crucifixion,  at  Antwerp,  is  his  master-piece;  at  the 
desire  of  Mary  of  Medici,  wife  of  Henry  IV.  he  went  to 
Paris,  and  painted  the  Luxembourg  galleries.  They  princi- 
pally represent  passages  in  the  life  of  the  queen.    They  are 


PAINTING. 


57 


usually  called  the  Allegories  'of  Mary  de  Medici.  Some  of 
his  best  smaller  pictures  are  in  the  Rubens  Gallery  in  the  pal- 
ace of  Frederic,  at  Potsdam.  Rubens  was  made  ambassador 
to  England  by  the  Infanta  Isabella.  He  received  the  order 
of  knighthood  from  King  Charles  I.,  with  a  sword  and  garter, 
enriched  with  diamonds,  to  the  value  of  twelve  thousand 
crowns.    He  died  in  Flanders,  A.  D.  1640,  aged  62. 

The  contemporaries  of  Rubens  were  Caspar  de  Crayer,  Neefs 
and  Cerard  Seegers,Van  Voss,  independent  masters.  His  pu- 
pils were  Snyders,  Jordaens,  Teniers,  Vandyke.  Teniers  con- 
nects the  Flemish  with  the  Dutch  style,  more  elevated  than  the 
latter,  less  dignified  than  the  former.  The  customs,  amuse- 
ments, scenes,  and  character  of  his  countrymen  are  repre- 
sented by  him  with  exquisite  truth,  and  very  great  beauty. 

Sir  Anthony  Vandyke  was  born  at  Antwerp,  A.  D.  1599. 
As  his  principal  works  were  performed  in  England  under  the 
patronage  of  Charles  I.,  he  is  generally  ranked  amongst  the 
English  artists. 

What  Rubens  accomplished  for  the  Flemish  school,  Rem- 
brandt did  for  the  Dutch, — gave  it  an  individual  character. 
The  originality  of  his  genius  enriched  the  poverty  of  his  sub- 
jects. His  style  is  bold,  yet  elaborately  finished.  His  princi- 
ples are  those  of  the  Dutch  school;  yet  he  has  few  imitators. 

He  stands  alone  among  his  countrymen,  performing  great 
works  among  the  minute  laborers  of  cabbages,  butchers'  shops, 
and  greengrocers'  stalls.  He  had  a  method  of  directing  all 
the  force  of  the  light  upon  one  spot  of  his  picture.  Thus,  a 
dazzling  but  solemn  mysterious  brightness  is  diffiised  over  the 
whole. 

5 


58 


PAINTING. 


The  most  comoion  form  receives  an  interest  in  the  hands  of 
Rembrandt.  The  most  unclassic  scene  has  something  origi- 
nal and  romantic.  It  is  the  effect  which  twilight  produces  in 
nature;  spreading  an  uncertain  gloom  over  the  most  familiar 
objects.    Rembrandt  died  A.  D.  1674. 

Fidelity  and  minuteness  distinguish  the  works  of  the  other 
Dutch  artists;  but  their  talents  are  wasted  upon  vulgar  sub- 
jects. They  have  the  beauty  of  truth;  but  the  sight  of  a  cab- 
bage leaf,  or  a  few  fish  upon  a  board,  excites  little  interest  or 
admiration. 

Contemporary  with  Rembrandt,  were  Cuyp,  Hcemskirk, 
Mieris,  Vander  Velde,  Bhergen,  and  many  others.  A  higher 
class  were  Wouvermann,  Saaz,  and  Gerard  Dhow,  the  most 
careful  of  painters. 

He  was  born  at  Leyden.  He  drew  from  nature,  and  always 
looked  at  the  original  through  a  convex  mirror.  He  painted 
little  figures  in  oil,  scarce  a  foot  high,  yet  as  much  finished  as 
if  they  had  been  as  large  as  life.  His  portraits  were  so  long 
in  finishing,  that  few  people  had  patience  to  sit  to  him.  The 
wife  of  the  Resident  of  Denmark  sat  to  Gerard  Dhow  for  her 
portrait,  and  he  took  five  days  to  paint  her  hand  He  asked  a 
thousand  livres  for  each  portrait. 

His  painting-room  was  open  at  the  top,  to  let  the  light  en- 
ter^ and  he  lived  by  the  side  of  a  canal,  to  avoid  the  dust. 
He  always  pounded  his  colors  on  crystal.  They  have  great 
freshness  and  transparency.  He  was  indefatigable  in  labor, 
and  his  imitation  of  nature  perfect.  We  may  admire  his  cor- 
rectness, but  there  is  little  in  his  works  to  please  the  fancy  or 
elevate  the  imagination. 


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59 


No  regular  Spanish  school  of  painting  appears  to  have  exist- 
ed at  any  period.  But  many  Spanish  artists  have  distinguish- 
ed themselves.  Of  these,  the  chief  were  Velasquez,  and  Mu- 
rillo,  remarkahie  for  his  taste  and  the  beauty  of  his  coloring. 
Madrid  and  Seville  were  the  principal  seats  of  the  art  in 
Spain.  The  Spanish  style  holds  an  intermediate  rank  between 
the  Venetian  and  Flemish.  Its  chief  beauty  is  truth  of  char- 
acter, natural  expression,  and  fine  coloring.  The  design  is 
correct  but  not  elevated.  There  are  still  many  noble  altar- 
pieces  of  Murillo's  in  Spain,  and  some  in  Flanders,  which  are 
much  esteemed.  He  died  in  1682,  and  was  buried  with  great 
pomp.    Two  knights  and  four  nobles  bore  his  pall. 

Hernandez  di  Mudo  was  a  Spanish  artist,  the  pupil  of  Ti- 
tian. He  was  born  deaf  and  dumb.  Philip  II.  employed 
him  in  painting  several  altar-pieces  in  the  Escurial.  His 
most  famous  pictures  are  those  of  the  Four  Evangelists,  painted 
in  fresco.  When  he  had  completed  that  of  St.  John  in  the 
Isle  of  Patmos,  he  was  so  much  pleased  with  it,  that  he  request- 
ed the  King  to  come  and  look  at  it. 

His  majesty,  who  could  see  no  beauty  in  a  desert  rocky 
country,  declared  that  he  came  to  see  a  pleasant  piece,  and 
was  by  no  means  satisfied  with  the  performance.  The  deaf 
and  dumb  painter  understood  the  King's  countenance,  and  no 
sooner  was  his  back  turned,  than  taking  up  the  folds  of  his 
cloak,  he  held  them  up  to  his  head  in  the  shape  of  asses'  ears, 
at  the  same  time  pointing  to  the  King  ;  as  much  as  to  say^ 
that  he  had  little  opinion  of  the  royal  taste. 
5* 


m 


PAINTING. 


CHAPTER  IX. 

Italian  artists  invited  to  Paris — Cousin  one  of  the  earliest  French  paint- 
ers— His  works  chiefly  on  glass — Blanchard  his  contemporary — He 
follows  the  Venetian  style — Is  highly  esteemed  throughout  France — 
His  principal  works — Vouet,  another  contemporary  artist — Birth  of  Nich- 
olas Poussin — Some  account  of  his  life — His  admiration  of  the  ancient 
style — The  beauties  of  his  manner — His  defects — Louis  XIH.  invites  him 
to  Paris — He  is  employed  in  the  Louvre  gallery — Dislikes  the  style  of 
painting  and  the  manner  of  living  in  Paris — Returns  to  Italy — His  death 
— Louis  XIV.  endeavors  to  establish  a  school  of  native  artists — Flattery 
of  the  French  painters — Le  Brun  the  chief  master  of  the  French  school — 
Some  account  of  his  life — His  principal  works— Characteristics  of  his 
style — Le  Sueur  his  contemporary. 

It  is  difficult  to  assign  a  decided  era  to  the  beginning  of 
painting  in  France.  Francis  I.  the  great  patron  of  arts 
and  sciences  among  his  subjects,  encouraged  Italian  painters 
to  visit  his  country.  Rossi  and  Primaticcio,  having  come  to 
France  by  his  desire,  were  employed  by  him  in  painting  the 
chambers  of  the  royal  palace  at  Fontainbleau. 

Leonardo  da  Vinci  v/as  the  personal  friend  of  the  monarch, 
and  died  in  his  arms.  Several  French  painters  worked  under 
the  direction  of  these  able  masters.  Yet  for  160  years  there 
are  but  two  names  in  the  annals  of  French  art,  worthy  of  par- 
ticular mention;  Jean  Cousin  and  Jaques  Blanchard. 

The  former  painted  principally  upon  glass,  which  seems  to 
have  been  among  the  earliest  methods  of  painting  in  France. 

In  the  church  of  St.  Gervais,  in  Paris,  there  still  exist  some 
fine  performances  of  his  in  that  style.  On  the  windov/s  of  the 
choir  he  painted  the  martyrdom  of  a  Saint — the  story  of  the 
Samaritan  woman,  and  that  of  the  Paralytic. 

He  was  well  received  at  court;  and  enjoyed  the  favor  of 


PAINTING. 


61 


four  kings  successively:  Henry  IT.  Francis  II.  Charles  IX. 
and  Henry  III. 

Jaques  Blanchard  was  born  in  Paris  A.  D.  1600.  Having 
paid  a  visit  to  Venice  he  was  so  charmed  with  the  beauty  of 
Titian's  paintings,  that  he  instantly  adopted  the  Venetian  style. 

The  novelty,  beauty,  and  force  of  his  pencil,  attracted  the 
attention  of  all  Paris;  and  no  one  was  supposed  to  be  in  the 
fashion,  who  had  not  some  drawing  of  Blanchard's  in  his  pos- 
session. His  easel-pieces  are  still  very  common.  He  painted 
two  galleries  in  Paris;  but  his  most  famous  performance  was 
his  Descent  of  the  Holy  Ghost,  still  preserved  in  the  church  of 
Notre  Dame. 

Vouet  was  his  contemporary;  and  in  some  measure,  contrib- 
uted to  introduce  good  taste  in  France.  He  was  also  the  in- 
structor of  several  good  painters.  He  was  however  a  manner- 
ist, both  in  design  and  coloring.    He  died  in  1641. 

Nicholas  Poussin  was  born  at  Andcly,  in  Normandy,  A.  D 
1594.  His  family  were  poor,  and  a  Poictevin  nobleman  hav- 
ing taken  a  fancy  for  him,  placed  him  under  the  tuition  of  a 
portrait-painter  named  Ferdinand.  He  worked  for  some  time 
in  distemper,  and  gave  a  strong  promise  of  genius. 

In  the  30th  year  of  his  age  he  visited  Rome,  but  having  no 
patron  and  no  one  to  encourage  him,  found  it  difficult  to  pro- 
cure a  livelihood.  However,  he  applied  himself  with  the  great- 
est assiduity  to  the  study  of  the  ancient  masters.  He  spent  whole 
days  in  wandering  among  the  vineyards  that  surround  Rome, 
studying  those  beautiful  specimens  of  sculpture  which  seem 
like  the  ruins  of  a  nobler  world.  There  he  reflected  upon  the 
principles  of  the  art,  studied  the  beauties  of  nature,  and 


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PAINTING. 


sketched  with  his  pencil,  all  that  was  likely  to  improve  his 
taste  and  strengthen  his  judgment. 

He  then  made  observations  upon  the  works  of  Raphael  and 
Domenichino,  the  latter  of  whom  he  more  especially  admired. 
His  admiration  of  antiquity  in  some  measure  made  him 
insensible  to  the  beauties  of  coloring.  He  transferred  to  his 
canvass  the  perfections  of  ancient  sculpture.  The  noble  air 
and  boldness  of  the  antique  style  are  discernible  in  all  his 
works. 

Yet  they  frequently  want  interest  and  expression.  The 
coloring  is  cold  and  sombre.  They  are  more  masculine  and 
severe,  than  graceful  or  natural.  He  was  ignorant  of  chiaro- 
scuro, one  of  the  most  essential  artijices,  if  we  may  call  it 
so,  of  painting. 

Louis  Xni.  though  an  imbecile  prince,  has  the  credit 
of  having  first  founded  a  native  shool  of  painting.  The  true 
merit  however,  is  due  to  his  prime  minister,  the  Cardinal  de 
Richelieu. 

By  the  invitation  of  the  French  Court,  Poussin  went  to 
Paris.  He  left  Italy  with  regret,  and  its  recollection  seems 
to  have  saddened  him  even  in  his  native  land.  A  pension 
was  granted  him  by  Louis,  and  apartments  given  him  in  the 
Tuilleries. 

After  painting  various  pieces  of  merit,  he  was  employed  in 
representing  the  labors  of  Hercules  in  the  Louvre  gallery. 
But  the  pupils  of  Vouet's  school  found  fault  with  his  style, — 
the  mediocrity  of  Vouet's  genius  was  preferred  to  his.  The 
manner  of  living  in  Paris  was  also  unsuitable  to  his  tranquil 
and  retired  nature. 


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63 


He  remembered  the  solitary  vineyards  of  the  Campagna  di 
Roma,  and,  disgusted  with  the  comparison,  soon  invented  a 
a  plausible  excuse  for  returning  to  Italy. 

There  he  resumed  his  labors,  and  sent  his  pieces  from  Rome 
to  Paris,  where  they  were  eagerly  purchased.  He  died  in 
1665. 

Louis  XIV.  endeavored  to  complete  what  his  predeces- 
sor had  begun,  in  giving  to  France  a  school  of  native  artists. 
He  instituted  academies,  conferred  rewards,  and  raised  men 
of  talents  to  honor.  But  this  school  was  composed  of  flatter- 
ers, who  bent  their  genius  to  the  will  of  their  sovereign. 

The  smile  of  a  monarch  will  not  call  forth  true  and  original 
genius;  nor  will  it  often  flourish  in  the  hot-house  atmosphere 
of  a  court.  The  praises  of  Louis  formed  the  chief  subject  of 
the  French  artists  in  his  reign. 

The  great  master  of  this  school  was  Le  Brun,  originally  of 
a  Scotch  family,  of  the  name  of  Brown.  He  was  born  in  1619, 
and  was  the  favorite  pupil  of  Vouet.  His  father  was  a  sculp- 
tor, who  was  employed  in  the  gardens  of  Hotel  Lcguier.  He 
used  to  take  his  son  there  with  him,  and  make  him  copy  his 
designs.  The  Chancellor  Leguier  walking  in  the  garden  one 
day,  was  struck  with  the  facility  with  which  young  Le  Brun  drew 
these  designs;  and,  pleased  with  the  boy's  countenance,  took  him 
under  his  protection.  At  the  age  of  15,  Le  Brun  executed 
two  paintings,  which  astonished  all  the  artists  of  his  time. 
The  one  was  the  portrait  of  his  grandfather,  the  other  repre- 
sented Hercules  slaying  the  horses  of  Diomedes.  His 
patron,  the  Chancellor  Leguier,  was  so  much  pleased  with  his 
progress,  that  he  sent  him  to  Italy  to  study.  At  Rome,  he 
perfected  himself  in  the  knowledge  of  the  art. 


64 


PAINTING. 


On  his  return,  he  soon  perceived,  that  his  style  was  supe- 
rior to  that  of  his  contemporary  artists;  and  he  requested  per- 
mission to  draw  those  public  pieces  which  were  likely  to  attract 
attention.  His  best  performances  are  the  five  great  pictures 
from  the  life  of  Alexander,  in  the  ceiling  of  the  gallery  at 
Versailles. 

His  paintings  give  proofs  of  a  lively  fancy,  great  dexterity, 
and  frequently  noble  ideas.  But  he  is  too  artificial.  He 
neglects  nature,  and  is  wanting  in  simplicity.  His  colors  are 
monotonous;  and  their  general  effect  is  shallow.  Le  Sueur 
was  the  contemporary  of  Le  Brun;  and  in  many  respects  his 
superior.  But  fashion,  which  has  always  reigned  despoti- 
cally in  France,  pronounced  against  his  merits;  and  the 
paintings  of  his  rival  were  always  preferred  to  his. 

It  is  probable,  however,  that  had  Le  Sueur  lived  longer,  he 
would  have  stood  in  the  first  rank  of  his  profession;  but  he 
died  at  the  early  age  of  thirty-eight,  A.  D.  1655. 


PAINTING. 


65 


CHAPTER  X. 

Birth  of  Claude  Lorraine — His  style  of  painting — Some  account  of  his 
early  years — His  want  of  capacity — Becomes  apprentice  to  a  pastry- 
cook— Goes  to  Rome  to  seek  employment — Is  hired  as  a  servant  by 
Agostino  Tasso — Learns  perspective — His  manner  of  study — Beauty 
of  his  works — Their  defect — Assiduity  of  Claude  Lorraine — His  death 
and  reputation — French  painters  of  the  L'^th  century — Their  false 
taste — Vernet  superior  to  the  others — Former  defects  of  the  French 
school — Error  into  which  it  has  now  fallen — David  the  head  of  the 
modern  French  school — His  study  of  antique  sculpture — Excellence 
and  defect  of  his  system — Comparison  between  David  and  Poussin — 
Principal  works  of  David — Anecdote  of  Napoleon. 

To  this  period  belongs  Claude  Gellee,  better  known  as  Claude 
Lorraine,  from  his  native  province,  where  he  was  born  in 
1600.  To  those  who  have  seen  the  paintings  of  this  celebrat- 
ed artist,  his  name  conjures  up  a  host  of  pleasing  recollec- 
tions. 

In  the  sweetest,  as  in  the  most  brilliant  effects  of  light; 
from  the  first  blush  of  day,  to  the  soft  glow  of  evening,  Claude 
is  unrivalled.  The  liquid  softness  of  his  tones;  the  leaves, 
forms,  and  branches  of  his  trees,  the  light  flickering  clouds, 
and  the  retiring  distances;  all  is  nature,  but  nature  in  her 
most  fascinating  form. 

The  scenes  in  which  he  lived  are  brought  before  us,  tinged 
with  the  soft  and  mellow  light  in  which  he  appears  to  have 
passed  his  existence.  Nature  seems  to  have  designed  him 
for  her  own  painter,  and  in  so  doing,  to  have  deprived  him  of 
every  other  talent. 

His  want  of  capacity  when  at  school  induced  his  parents  to 
remove  him,  as  unfit  to  learn.  They  bound  him  apprentice  to 
a  pastry-cook,  a  profession  which  did  not  apparently  require 


66 


PAINTING. 


talents  of  the  first  order.  But  here  he  also  failed.  Happen- 
ing to  fall  in  with  some  young  apprentices,  who  were  going  to 
Rome  to  seek  employment,  he  offered  to  accompany  them. 
When  he  arrived  there,  he  found  his  condition  by  no  means 
bettered.  The  young  pastry-cook  was  uncouth  in  his  man- 
ners; nor  could  he  converse  in  any  language  save  his  provin- 
cial tongue.  No  one  would  employ  him;  and  notwithstanding 
-his  practical  knowledge  of  baking  pies,  he  was  in  danger  of 
starvation. 

Chance  or  providence,  conducted  him  in  this  distress  to  the 
house  of  one  Agostino  Tasso,  a  painter,  who  was  in  want  of  a 
cook;  or  rather  of  what  is  termed,  'a  servant  of  all  work.' 
Whether  Agostino  discovered  the  germ  of  future  talent  in  the 
heavy  countenance  of  the  discarded  apprentice,  is  uncertain; 
but  he  hired  him  to  cook  his  victuals,  pound  his  colors,  clean 
his  pallet  and  pencils,  sweep  his  chamber;  and  in  short,  to  do 
all  the  drudgery  of  his  house. 

Afterwards,  in  hopes  of  making  him  serviceable  in  some  of 
his  greatest  works,  Agostino  endeavored  to  teach  him  the 
rules  of  perspective.  Claude  was  some  time  in  understanding 
the  principles  of  the  art;  but  when  he  began  to  have  a  correct 
notion  of  them,  his  ideas  enlarged.  It  seems  as  though  an 
electrical  spark  suddenly  communicated  itself  to  his  soul;  that 
the  eyes  of  his  understanding  were  opened,  and  that  he  saw 
nature  herself  beckoning  to  him,  and  bidding  him  awake  and 
contemplate  her  wonders. 

From  morning  till  night  he  wandered  through  the  country, 
observing  the  effects  of  light  and  shade,  the  morning  dews  and 
evening  vapors  as  they  influenced  the  colors  of  the  surround- 


PAINTING. 


67 


ing' objects;  the  causes  which  produced  a  variety  of  effect  up- 
on the  same  landscape  at  different  periods. 

He  watched  the  effect  of  the  setting  sun;  now  pouring  a 
blaze  of  golden  light  over  the  landscape,  illuminating  tree  and 
tower,  then  gradually  fading,  and  growing  fainter  as  the  shades 
of  evening  blended  softly  with  its  expiring  rays. 

These  effects  of  light  became  deeply  impressed  upon  his  mem- 
ory; and  in  his  representations  of  natural  scenery,  were  faith- 
fully exhibited.  To  him,  landscape  painting  owes  its  interest 
and  its  beauty,  as  a  separate  and  dignified  branch  of  art. 

One  defect  is  observable  in  the  representations  of  this  paint- 
er. His  landscapes  are  too  frequently  compositions;  or  what 
is  termed  heroic  landscape.  He  seems  to  have  imagined 
scenes  even  brighter,  and  lands  even  fairer  than  his  own  sun- 
ny Italy, — the  country  of  his  adoption. 

As  far  as  regards  our  imagination,  this  style  of  composition 
heightens  the  charm  of  his  painting,  yet  reality  must  always 
have  a  deeper  interest,  and  must  speak  more  forcibly  to  the 
heart,  than  the  most  brilliant  of  ideal  scenes. 

Inanimate  nature  seems  to  have  excited  his  attention  more 
than  living  objects.  Perhaps  he  thought  his  fellow  men  infe- 
rior to  the  beautiful  world  in  which  they  lived  ;  and  truly  the 
degenerate  modern  Italian  seems  scarce  worthy  of  the  pains 
which  nature  has  taken  to  adorn  his  residence.  The  paradise 
remains;  but  they  who  dwell  in  it  are  fallen. 

The  assiduity  of  Claude  Lorraine  was  remarkable.  He 
would  frequently  paint  the  same  piece  seven  or  eiglit  times 
over,  before  he  was  satisfied  with  his  performance.  He  was 
fio  absorbed  in  his  labors,  that  he  lived  in  nearly  perfect  soli- 


68 


PAINTING. 


tude.  He  died  in  an  extreme  old  age,  A.  D.  1678,  leaving 
behind  him  an  immortal  reputation. 

The  celebrated  Salvator  Rosa  was  born  at  Naples,  in  1614. 
He  delighted  in  representing  nature  in  her  wildest  and  sternest 
scenes.  It  is  said,  that  he  spent  the  early  part  of  his  life 
among  a  troop  of  banditti,  and  his  robbers,  as  his  detached  fig- 
ures are  commonly  called,  are  supposed  to  have  been  taken 
from  real  life.  Every  tree,  rock,  or  cloud  that  enters  into  the 
compositions  of  Salvator,  shows  a  boldness  and  elevation  of 
thought. 

He  was  equally  eminent  for  his  battle  pieces,  animals,  sea 
and  land  storms,  but  his  pieces  are  now  exceedingly  scarce, 
and  valued  in  proportion.  One  of  his  finest,  representing  Saul 
and  the  Witch  of  Endor,  is  preserved  at  Versailles.  He  died 
in  1673,  and  as  his  paintings  are  in  few  hands,  he  is  more  gen- 
erally known  by  his  prints;  of  which  he  etched  a  great  num- 
ber. 

As  the  landscapes  of  Claude  Lorraine  represents  nature  in 
her  mildest  mood,  those  of  Salvator  on  the  other  hand,  show  her 
in  her  moments  of  gloom  and  terror.  The  jutting  crag,  the 
scathed  tree,  the  desolate  stronghold  peopled  with  the  wild 
forms  of  the  mountain  bandit,  these  are  the  scenes  in  which  the 
imagination  of  Salvator  revelled,  and  in  which  his  genius  dis- 
played itself  These  are  the  last  names  of  note  in  the  history 
of  Italian  painting. 

The  French  painters  of  the  18th  century  were  numerous, 
and  on  the  whole,  superior  to  those  of  the  same  era  in  Italy. 
Throughout  all  their  works,  however,  we  detect  the  principles 
of  the  school  of  Louis  XIII.    Cases  was  one  of  the  most 


PAINTING. 


69 


talented  of  their  native  artists,  but  his  merits  were  overlooked 
during  his  life  time.  Santerre  studied  nature,  designed  cor- 
rectly and  colored  agreeably,  but  seldom  rose  above  mediocrity. 

The  two  Parrocels  and  Courtois,  painted  combats,  chiefly 
of  horsemen.  Touveult  showed  talents  for  design,  and  was  re- 
markable for  having  painted  in  old  age  with  his  left  hand. 
Rigaud  has  been  called  the  French  Rubens.  But  false  taste 
and  pedantry  disfigure  all  their  compositions. 

The  Apotheosis  of  Henry  IV.,  at  Versailles,  is  a  striking 
and  well-colored  painting,  but  one  of  those  unmeaning  allego- 
ries which  are  common  in  the  performances  of  the  French  ar- 
tists of  that  period. 

Painting  gradually  sunk  into  contempt  in  the  hands  of  in- 
ferior artists.  The  name  of  Vernet  deserves  to  be  distinguish- 
ed from  these.  He  excelled  in  marine  pieces,  although  his 
coloring  was  too  artificial. 

When  the  terrors  of  the  revolution  began  in  some  measure 
to  subside  in  France,  it  was  thought  proper  to  revolutionize  the 
arts.  The  preceding  errors  had  consisted  principally  in  a  want 
of  dignified  and  correct  forms.  There  was  a  pompous  display 
of  figures  in  afljected  attitudes,  overloaded  with  draperies  of 
rich  stuffs,  and  a  constant  parade  of  unmeaning  magnificence. 

Perhaps  a  consciousness  of  this  perverted  taste,  was  mingled 
with  that  fervid  hatred  to  royalty,  which  induced  the  French 
to  exterminate  all  these  pompous  works;  and  drove  their  art- 
ists into  a  contrary  extreme.  A  dry  and  insipid  imitation  of 
the  Greek  style  was  next  adopted. 

The  founder  and  representative  of  this  modern  school  was 
David,  born  in  1750.    He  soon  discovered  the  errors  into  which 


70 


PAINTING. 


his  contemporaries  had  fallen ;  the  false  glare,  and  feebleness 
of  their  style,  and  its  want  of  dignified  and  correct  form.  He 
applied  himself  to  the  study  of  antique  sculpture,  and  with 
much  success.  His  drawing  is  correct;  his  style  of  design  no- 
ble. But  he  did  not  observe,  or  he  could  not  remedy  another 
error,  equally  glaring;  the  total  absence  of  simple  and  natural 
expression.  His  system  was  in  part  excellent,  but  he  follow- 
ed it  too  exclusively.  Statuary  can  give  little  to  painting  be- 
yond form  and  proportion.  These  are  the  essentials;  but  ex- 
pression, action,  and  coloring,  must  be  copied  from  nature;  or 
the  picture  will  appear  cold  and  without  feeling. 

Like  Poussin,  David  lived  too  much  for  antiquity.  But 
Poussin,  if  he  erred  in  this,  at  least  represented  antiquity  in  its 
simplicity  and  perfect  repose.  David  has  not  done  so.  He 
has  added  exaggerated  expression  and  forced  attitudes. 

Among  his  best  works,  are  his  Horatii,  his  Leonidas  with 
the  Spartans  at  Thermopylfe — the  Death  of  Socrates — the  Fu- 
neral of  Patrocles — and  his  Coronation  of  Napoleon. 

In  portrait  painting,  his  best  performances  are  the  numerous 
likenesses  of  his  imperial  patron.  There  is  one  sketch  of  Na- 
poleon, which  was  taken  during  his  last  hours  of  power  in 
France,  and  which  circumstances  render  interesting.  Napo- 
leon had  spent  the  preceding  day,  in  arranging  the  final  opera- 
tions of  the  campaign,  which  terminated  in  the  battle  of  Wa- 
terloo. It  was  past  midnight,  when  David  was  summoned  in- 
to his  presence.  *  My  friend,' said  Napoleon,  '  there  are  yet 
some  hours  till  four,  when  we  are  finally  to  review  the  de- 
fences of  the  capital.  In  the  mean  time,  faites  voire  possible^ 
whilst  I  read  these  despatches.* 


PAINTING. 


71 


But  exhausted  with  fatigue,  the  Emperor  sunk  to  sleep. 
The  paper  dropped  from  his  hand.  In  this  attitude  David  has 
represented  him.  The  pale  and  lofty  forehead,  the  relaxed 
expression,  the  care-worn  features — all  inspire  us  with  a  deep 
and  melancholy  interest. 

As  one  of  the  regicides,  David  was,  at  the  restoration, 
driven  into  exile.    He  died  at  Brussels,  in  1825. 


CHAPTER  XI. 

First  attempts  at  Paintinrr  in  England — Artists  employed  by  Henry  III. — 
Rudeness  oftlieir  works — Causes  of  the  elow  progress  of  Paintino;  in 
the  sncceedinor  rei«rns — It  revives  witli  the  spirit  of  chivalry — Effects  of 
the  civil  wars  upon  the  art — Qualifications  of  an  Ennrlish  artist— Of  illu  • 
minated  missiles — Of  Ta[)estry — Painting  begins  to  flourish  under  Henry 
Vill. — Allegorical  painting — Change  caused  by  the  Reformation — Hans 
Holbein  arrives  in  England — His  style  of  Painting— His  portraits — An- 
ecdote of  Holl)ein  and  a  courti(»r — Fate  of  his  works — His  death — Paint- 
ing encouraged  by  Mary  of  England — Of  Sir  Antonio  More — Anecdote 
of  tliat  artist  and  the  King  of  Spain — Elizabeth  discourages  the  art — Por- 
traits of  tliat  Queen — Luras  de  Keere — His  allegorical  painting  of  Queen 
Elizabeth — Of  Hilliard  and  Oliver — King  James  encourages  the  art — 
Miniature  portraits  much  in  vogue — Altar-pieces  and  windows  painted 
— Influence  of  the  accession  of  Charles  I.  upon  the  art — Rare  works 
presented  to  him  by  foreign  princes— Gallery  of  Whitehall — Rubens 
the  Spanish  Ambassador  to  England — His  paintings  in  London — Van- 
dyke arrives  in  London — Honors  conferred  upon  him — His  works — Of 
Jamesone,  the  Scottish  painter — Dynasty  of  Cromwell — Destruction  of 
the  royal  galleries. 

So  little  is  known  of  the  progress  of  painting  in  England 
previous  to  the  reign  of  Henry  the  VIII.,  that  it  is  difficult  to 
trace  its  history  up  to  that  period,  with  any  degree  of  certain- 


72 


PAINTING. 


ty.  For  many  centuries,  the  art  was  confined  to  mere 
mechanical  skill,  and  nothing  like  genius  was  observable  in 
the  rude  productions  of  the  primitive  artists.  Henry  III. 
employed  their  unnurtured  skill  in  embellishing  his  churches 
and  palaces,  and  in  manufacturing  saints  and  legends.  But 
the  apostles  and  virgins  of  that  era  were  rude,  clumsy,  and  un- 
graceful, their  bodies  ill-proportioned,  and  their  looks  rueful 
and  ungainly. 

During  the  reigns  of  Edward  the  First  and  Second,  painting 
seems  to  have  met  with  little  encouragement.  It  was  ill  suit- 
ed to  the  temper  of  the  fierce  nobles  of  that  period,  whose 
feet  were  seldom  out  of  the  stirrup,  and  who  neglected  all  art 
save  that  which  brightened  their  armor,  and  embellished  their 
warlike  trappings. 

In  the  reign  of  Edward  III.  a  more  refined  and  elegant 
taste  begun  to  prevail.  The  actions  of  the  Black  Prince 
aroused  a  spirit  of  chivalry;  a  love  of  martial  adventure,  tem- 
pered with  high  and  romantic  feeling.  The  art  of  painting 
partook  of  this  warlike  spirit.  Royal  commissions  for  saints 
and  apostles  gave  way  to  orders  for  painted  shields,  gilded  ar- 
mor, q.nd  emblazoned  banners. 

During  the  civil  wars  which  succeeded,  painting  was  almost 
crushed  in  her  cradle,  though  she  occasionally  revived  dur- 
ing the  intervals  of  repose.  The  works  of  that  period  seem 
like  a  blind  groping  after  form  and  color.  We  see  faces  with- 
out thought,  limbs  without  proportion,  and  draperies  without 
variety. 

The  character  of  an  English  artist  was  curiously  compound- 
ed. He  was  at  once  painter,  architect,  sculptor,  goldsmith,  jew- 


PAINTING. 


73 


eller,  carpenter,  armourer,  saddler  and  tailor.  An  order  was 
given  for  a  picture  or  statue,  as  it  was  for  a  coat  or  a  set  of 
chairs.  Quantities  of  silver  and  gold,  and  precious  stones 
were  employed  in  works  of  art.  There  were  gilded  kings  with 
golden  crowns;  gilded  angels  with  golden  halos;  gilded  ma- 
donnas nursing  golden  children;  the  heaven  above  was  gold, 
and  gold  was  the  earth  beneath. 

The  art  of  illuminating  next  began  to  be  practised;  that  is, 
of  illustrating  missals  and  books  of  chivalry  and  romance. 
Some  of  these  are  beautiful.  In  many  of  the  best  there  is  a 
vivid  richness  and  delicacy  of  lines,  approaching  the  lustre  of 
oil-painting.  They  represent  the  dress€s,  ceremonies,  and 
portraits  of  the  chief  men  of  the  times,  and  were  richly  bound, 
and  clasped  with  gold  or  silver. 

The  art  of  tapestry  aided  in  diffusing  a  love  of  painting  over 
the  island.  This  manufacture  was  subservient  both  to  comfort 
and  splendor.  The  figures  represented  on  it  exhibited  the 
mixed  taste  of  the  times;  a  grotesque  union  of  classical  and 
Hebrew  history — of  martial  life  and  pastoral  repose — of  Greek 
gods  and  Romish  saints.  As  painting  rose  in  fame,  tapestry 
«unk  in  estimation.  At  the  commencement  of  Henry  the 
Eighth's  reign,  painting  began  to  flourish.  Foreign  artists  began 
to  appear  at  court,  and  portrait  painting  to  be  esteemed.  An 
incurable  love  of  allegory  however  disfigured  all  the  composi- 
tions of  that  period,  and  was  brought  by  foreign  artists  to  Eng- 
land. 

Minerva  and  Venus,  Juno  and  Jupiter,  followed  in  the  train 
of  monarchs  with  high-heeled  boots,  curled  wigs  and  laced 
cravats.    With  the  Reformation  came  a  charge  which  affect* 
G 


74 


PAINTING. 


ed  literature  and  art,  as  well  as  religion.  The  zeal  of  the  re- 
formers was  let  loose  upon  the  gilded  saints,  illuminated  mis- 
sals, and  religious  paintings.  The  works  of  the  Italian  artists 
perished  in  the  universal  blaze. 

Portraiture  survived  the  general  wreck — vanity  and  osten- 
tation induced  Henry  VIII.  to  patronize  Hans  Holbein,  and 
to  fix  him  in  England  by  every  mark  of  friendship  and  boun- 
ty. In  1526  Holbein  left  his  native  town  of  Basle,  and  fixed 
his  residence  in  England. 

His  works  are  chiefly  portraits,  and  distinguished,  for  their 
truth  and  nature.  He  was  skilful  in  plain  fidelity  of  resem- 
blance. As  the  object  appeared  to  him,  so  he  drew  it  on  his 
canvass.  He  had  little  imagination,  or  brilliancy  of  concep- 
tion, though  he  sometimes  flattered  the  ladies  of  the  court, 
added  a  grace,  and  kept  a  defect  in  the  shade. 

His  Anne  Boleyn  is  graceful  and  volatile.  His  King  Hen- 
ry is  bluff*  and  joyous,  with  jealous  eyes  and  an  imperious  brow. 
It  is  said  that  one  day  while  he  was  engaged  in  painting  the 
portrait  of  a  court  beauty,  he  was  interrupted  by  the  entrance 
of  a  great  nobleman.  The  painter,  a  strong  powerful  man, 
and  somewhat  touchy  in  his  temper,  threw  the  intruder  down 
stairs,  bolted  the  door,  ran  to  the  king  by  a  private  parlor, 
fell  on  his  knees,  asked  for  pardon,  and  obtained  it. 

In  came  the  angry  courtier,  and  made  his  complaint.  *  By 
God's  splendor!'  cried  the  king,  'you  have  not  to  do  with 
Hans,  but  with  me.  Of  seven  peasants  I  can  make  seven 
lords,  but  I  cannot  make  one  Hans  Holbein.' 

Of  the  works  of  this  painter,  some  were  destroyed  during 
the  civil  wars;  and  many  perished  when  the  great  palace  of 


PAINTING. 


75 


Whitehall  was  burned.  George  the  Fourth  had  in  his  collec- 
tion of  paintings,  eighty-nine  original  drawings  of  Holbein's, 
which  are  the  greatest  curiosity  in  the  Royal  gallery.  Hol- 
bein died  of  the  plague  in  1554.  The  mercantile  mode  of  bar- 
gaining for  works  of  art  still  continued;  and  artists  were  still 
looked  upon  as  manufacturers;  their  productions  esteemed  by 
their  extent,  and  the  time  consumed  in  making  them. 

During  the  short  and  sanguinary  reign  of  Mary,  painting 
maintained  its  place  in  popular  estimation.  Philip  of  Spain 
gave  Sir  Antonio  More  a  chain  of  gold  for  his  portrait  of  that 
Queen.  More  followed  Philip  into  Spain,  where  he  received 
four  hundred  a  year  as  painter  to  the  King. 

One  day  it  is  said  that  Philip  having  laid  his  hand  jestingly 
on  the  shoulder  of  the  artist  in  presence  of  his  courtiers, — Sir 
Antonio  who  was  engaged  in  painting,  touched  the  royal  hand 
with  a  brush  dipped  in  carmine.  The  courtiers  stood  aghast — 
Philip  surveyed  his  hand  in  awful  silence,  and  the  painter  see- 
ing his  error,  fell  on  his  knees,  and  prayed  for  forgiveness. 

He  obtained  it,  but  soon  after  retired  from  court.  Queen 
Elizabeth,  who  had  no  taste  for  what  she  considered  uselesi 
expense,  discouraged  painting  and  painters,  though  she  loved 
to  see  her  own  face  on  canvas.  A  pale  Roman  nose,  a  head 
of  hair  loaded  with  crowns  and  powdered  with  diamonds,  a 
vast  ruff,  a  vaster  fardingale,  and  a  bushel  of  pearls,  are  tht 
features  by  which  every  body  knows  at  once  the  picture  of 
Queen  Elizabeth. 

Lucas  de  Heere,  a  native  of  Ghent,  came  in  this  reign  to 
England.    Among  his  portraits,  is  one  of  the  Queen,  in  a  rich 
dress,  coming  out  of  her  palace;  with  Juno,  Venus  and  Mi- 
6* 


76 


PAINTING. 


nerva,  as  her  attendants;  Juno  drops  her  sceptre,  Venus  scat- 
ters her  roses,  and  Cupid  flings  away  his  arrows.  The  gross 
flattery  of  this  piece  is  only  equalled  by  the  poverty  of  the  in- 
vention. The  names  of  Milliard  and  Oliver,  native  painters, 
are  worthy  of  mention  at  this  period,  as  being  the  earliest  En- 
glish painters  who  have  any  claim  to  the  name  of  artists. 

In  the  reign  of  James,  learning  and  the  arts  were  encourag- 
ed. Myteus,  a  native  of  the  Hague  settled  in  England  at  the 
request  of  the  king,  and  enjoyed  a  high  reputation.  The 
younger  Oliver  made  himself  known  by  numerous  portraits  of 
courtly  persons.  It  was  the  mode  at  that  period  for  persons 
of  rank,  to  wear  round  their  neck  miniatures  richly  set  in  gold 
and  diamonds.  This  harmless  vanity  encouraged  that  branch 
of  painting.  Altar-pieces  and  painted  windows  became  com- 
mon in  the  episcopal  churches,  notwithstanding  the  aversion  of 
the  puritans  to  these  ornaments. 

After  the  death  of  James,  the  influence  of  a  king  of  true 
taste,  like  Charles,  soon  became  visible  in  the  nation.  The 
foreign  countries  which  gave  necklaces  and  jewels  to  Elizabeth 
and  James,  now  propitiated  the  English  court  with  rare  works 
of  art.    The  States  of  Holland  sent  Titians  and  Tintorettos. 

The  King  of  Spain  presented  the  Cain  and  Abel  of  John  of 
Bologna,  with  Titian's  Venus  del  Pardo.  Through  the  medi- 
um of  Rubens,  Charles  obtained  the  Cartoons  of  Raphael;  and 
by  the  negotiation  of  Buckingham,  the  collection  of  the  Duke 
of  Mantua,  containing  eighty-two  pictures,  chiefly  by  Julio  Ro- 
mano, Titian  and  Corregio. 

The  gallery  of  Whitehall  contained  four  hundred  and  sixty 
pictures,  by  thirty-seven  of  the  most  illustrious  masters.  The 


PAINTING. 


77 


Infanta  of  Spain  sent  Rubens  as  her  ambassador  to  England. 
There  he  was  prevailed  upon  to  embellish  the  banqueting- 
room  of  Whitehall  with  the  Apotheosis  of  King  James;  a  work 
which  has  excited  general  and  merited  admiration. 

In  1632  Vandyke  arrived  in  London.  The  King  bestowed 
upon  him  the  order  of  knighthood  and  a  pension.  The  Queen 
sat  to  him  for  her  portrait,  in  the  prime  of  her  youth  and  loveli- 
ness. The  ladies  of  the  court  imitated  her  example.  Of  the 
works  of  Vandyke  there  are  yet  more  than  two  hundred  extant 
in  England  alone.  Reynolds  has  equalled  him  in  freedom, 
Lawrence  has  surpassed  him  in  female  loveliness,  but  no  one 
has  equalled  him  in  the  expression  of  manly  dignity.  At  first 
he  imitated  Rubens,  under  whom  he  studied,  but  afterwards 
changed  his  style  to  one  less  brilliant. 

George  Jamesone,  a  Scotch  painter  of  this  era,  was  an  artist 
of  great  merit.  He  has  been  called  the  Scottish  Vandyke  ;  and 
was  born  at  Aberdeen,  in  158G.  His  excellence  consists  in 
softness  and  delicacy,  and  in  a  broad  and  transparent  style. 
His  coloring  also  is  beautiful. 

King  Charles  sat  for  his  portrait  to  Jamesone,  when  he  vis- 
ited Scotland  in  1633, and  rewarded  him  with  a  diamond  ring 
from  his  own  finger.  Many  of  his  portraits  are  still  to  be  seen 
in  the  houses  of  the  Scottish  nobility.  They  resemble  those 
by  Vandyke  so  strongly,  that  it  is  difficult  to  distinguish  them 
from  his. 

\  During  the  dynasty  of  Cromwell,  the  fury  of  the  parliament 

was  directed  against  the  royal  galleries,  as  filled  with  vain, 
frivolous  and  sinful  productions.  A  general  order  was  given 
for  their  dispersion  and  destruction.    Some  were  bought  by 


rs 


PAINTING. 


the  king  of  Spain.  Cromwell  himself  was  an  extensive  purchas- 
er; many  fell  into  private  hands.  The  republicans  received 
38,000  pounds  for  the  sale. 


CHAPTER  XII. 

Influence  of  the  Restoration  upon  the  arts — Sir  Peter  Lely— His  works — His 
death — To  what  attributed — Sir  Godfrey  Kneller — His  talents  and  popu- 
larity—  Is  complimented  by  Dry  den — England  indebted  to  foreign  artists 
— Of  architectural  painting — Of  Verrio,  la  Guerre,  and  Sir  James  Thorn- 
hill — Birth  of  Hogarth — Of  his  early  years — Anecdote  of  Hogarth — Toils 
for  his  subsistence — Begins  to  obtain  reputation — ^  The  Rake's  Progress, 
by  Hogarth — His  ^  Strolling  Actresses' — His  '  Election  ' — Death  of  Ho- 
garth— Remarks  upon  his  peculiar  style  of  genius. 

Then  came  the  Restoration;  and  the  character  of  the  nation 
seemed  changed  as  bj  magic.  Dice  and  dance  succeeded 
prayers  and  sermons.  Painting  was  dedicated  to  the  task  of 
recording  the  features  of  the  gay  ladies  ofthe  court.  Sir  Peter 
Lely  was  an  artist  well  fitted  for  this  employment. 

He  exercised  his  pencil  in  representing  the  beauties  of 
Windsor  as  they  are  called;  the  Dutchess  of  Cleveland,  Lady 
Castlemaine  and  her  notorious  companions.  He  also  took  the 
portraits  of  Clarendon,  Cowley,  Butler^  Selden,  and  Otway. 
Of  his  numerous  works,  upwards  of  seventy  are  still  in  the  isl- 
and,— portraits  of  ladies  of  rank  or  note,  and  of  men  of  birth  or 
genius. 

He  has  succeeded  perfectly  in  handing  down  to  us  the  style 
of  the  courtly  beauties  of  that  day,  with  their  rich  draperies. 


PAINTING.  79 

flowing  locks,  and  eyes  that  speak  nothing  but  a  proud  con- 
sciousness of  their  charms. 

It  is  said  by  some  writers  that  the  death  of  Lely  was  caused 
by  the  arrival  of  Sir  Godfrey  Kneller.  But  he  died  suddenly, 
and  jealousy  has  scarce  so  rapid  an  effect.  The  new  artist 
was  a  man  of  talent.  His  works  were  almost  exclusively  por- 
traits, and  remarkable  for  an  air  of  freedom  and  a  hue  of  nature. 
All  the  sovereigns  of  his  time,  all  the  noblemen  of  the  court, 
all  the  ladies  of  rank  and  beauty  in  England  sat  to  Kneller 
for  their  portraits. 

He  painted  the  portrait  of  Dryden,  who  repaid  him  by  a  po- 
etic epithet  filled  with  praise. 

^  Such  are  thy  pictures,  Kneller  !  such  thy  skill, 
That  nature  seems  obedient  to  thy  will, 
Comes  out  and  meets  thy  pencil  in  the  draught, 
Lives  there,  and  wants  but  words  to  speak  the  thought.' 

To  four  foreign  artists,  then,  Holbein,  Vandyke,  Lely,  and 
Kneller,  the  English  are  indebted  for  portraits  of  the  most 
eminent  persons  who  appeared  in  England  during  a  long  course 
of  years.  In  truth,  force,  and  elegance,  many  of  their  works 
are  yet  unsurpassed. 

The  Olivers,  Jamesone,  and  Cooper,  were  native  artists; 
but  miniature  painters,  and  mere  imitators  of  Vandyke,  cannot 
be  classed  among  masters. 

In  the  reigns  of  the  Stuarts,  a  tasteless  style  of  painting,  call- 
ed architectural,  was  much  in  vogue.  When  a  new  building  was 
completed,  an  architectural  painter  was  set  to  work,  toe  over 
the  walls  and  ceilings  with  nymphs,  representing  cities,  crown- 
ed females  for  nations,  and  figures  answering  to  the  names  of 
all  the  virtues. 


80 


PAINTING. 


Verrio,  la  Guerre,  and  Sir  James  Thornhill  were  the  chief 
professors  of  this  barbarous  style.  It  is  plain  that  up  to  this 
period,  no  British  artist  had  arisen  capable  of  taking  the  lead 
in  painting;  no  one  who  had  moved  the  heart  by  his  skill.  To- 
wards the  end  of  the  17th  century,  however,  an  artist  appear- 
ed who  sought  for  fame, — and  found  it, — in  moral  sentiment^ 
nervous  satire,  and  actual  English  life. 

This  was  William  Hogarth,  born  in  London,  on  the  10th  of 
December,  1697.  He  was  descended  from  a  Westmoreland 
family  ;  his  father  was  the  youngest  of  three  brothers.  The 
eldest  was  a  yeoman,  in  the  vale  of  Bampton;  the  second,  a 
ploughman  at  Troutbeck;  the  third,  Richard,  the  father  of 
Hogarth,  was  a  corrector  of  the  press  in  some  obscure  part  of 
the  metropolis. 

When  very  young,  William  Hogarth  was  bound  apprentice 
to  a  goldsmith.  He  was  remarkable  for  his  love  of  shows,  and 
his  turn  for  mimickry.  He  soon  found  his  profession  too  lim- 
ited for  his  genius.  His  love  of  painting,  which  had  early  de- 
veloped itself,  induced  him  to  look  out  for  objects  upon  which 
to  exercise  his  pencil;  and  when  the  period  of  his  indenture 
was  expired,  he  set  diligently  about  acquiring  knowledge  for 
himself 

Of  his  first  attempt  at  satire,  we  have  the  following  account: 
One  summer  Sunday,  during  his  apprenticeship,  he  went  to 
Highgate  with  three  of  his  companions;  the  weather  being 
hot,  and  the  roads  dusty,  they  went  into  a  public  house,  and 
called  for  ale.  There  were  other  customers  in  the  house,, 
drinking  freely  and  talking  fiercely,  until  they  began  to  ex- 
press their  anger  by  blows.    One  of  them,  on  receiving  a  blow 


PAINTING. 


81 


with  a  quart  jug,  looked  so  ludicrously  rueful,  that  Hogarth 
snatched  out  a  pencil,  and  sketched  him  as  he  stood.  It  was 
very  like,  and  very  laughahle,  and  contributed  to  the  restora- 
tion of  good  humor. 

The  first  work  which  appeared  from  the  hands  of  this  artist 
was  entitled,  *  The  Taste  of  the  Town.'  The  reigning  follies 
of  the  day  were  sharply  lashed — and  'the  town'  wa^  much 
amused  at  this  satirical  picture  of  itself 

Hogarth  was  compelled  to  toil  for  his  subsistence;  he  also 
supported  his  mother  and  sisters.  Thus  he  could  not  always 
choose  the  path  in  which  he  preferred  to  walk.  He  continued 
to  engrave  arms  and  crests;  and  to  make  etchings  on  bowls 
and  tankards.  The  booksellers  began  to  employ  him  in  draw- 
ing cuts  and  frontispieces  for  books.  They  bear  little  impress 
of  the  peculiar  genius  which  distinguishes  his  other  perform- 
ances. 

Gradually,  he  succeeded  in  withdrawing  himself  from  the 
drudgery  of  his  original  profession,  and  in  establishing  a  name 
for  satiric  skill  and  dramatic  Sketching.  In  17.30,  he  married 
the  daughter  of  Sir  James  Thornhill,  the  architectural  painter, 
a  gentleman  of  great  importance  and  fame,  but  little  real  ta- 
lent. 

In  |)ortrait  painting,  Hogarth  was  coarse,  vigorous,  and  true 
to  nature.  His  likenesses  of  himself  are  all  clever,  and  very 
like.  He  has  a  short,  good-humored  face,  full  of  observation 
and  sagacity. 

He  then  commenced  a  style  of  composition  in  which  he  ac- 
quired lasting  celebrity.  He  painted  a  series  of  scenes,  rep- 
resenting, in  a  dramatic  manner,  the  life  and  progress  of  his 
characters. 


82 


PAINTING. 


The  Rake's  Progress,  by  Hogarth,  is  a  series  of  eight  scenes, 
each  complete  in  itself,  and  all  uniting  in  relating  a  domestic 
history,  in  a  way  at  once  natural,  comic,  satiric  and  serious. 

It  describes  the  history  of  a  young  man  who  steps  unexpect- 
edly from  poverty  to  fortune.  He  begins  by  despising  and 
deserting  the  woman  whom  he  had  engaged  to  marry;  starts 
on  a  wild  career  of  extravagance,  dissipation,  and  folly;  is 
beset  and  swindled  by  speculators  of  all  kinds — parades  through 
various  haunts  of  splendor  and  of  guilt,  till  with  a  fortune  dissi- 
pated, a  constitution  ruined,  blighted  flame  and  darkened  rea- 
son, he  is  left  raving  mad  in  Bedlam. 

Mirth  and  wo,  humor  and  sadness,  a  brilliant  rise  and  a  dark 
setting,  all  are  united  in  these  pictures.  The  curtain  was  now 
drawn  aside,  and  the  genius  of  Hogarth  manifested  in  its  full 
lustre.  Fame  and  profit  attended  his  steps,  and  he  continued 
to  amaze  the  age  by  a  representation  of  all  the  tollies  or  vices 
that  struck  his  fancy  as  fit  subjects  for  the  pencil. 

His  ^  Strolling  Actresses '  is  one  of  his  most  amusing  pertbrm- 
ances.  A  huge  barn  is  fitted  up  like  a  theatre.  The  perform- 
ance is  to  be,  The  Devil  to  Pay  in  Heaven,  a  satire  of  the  times 
upon  the  Romish  faith.  The  dramatis  personae  are  rehears- 
ing their  parts,  and  arranging  their  toilette. 

Juno  sits  on  an  old  wheelbarrow,  which  is  shortly  to  form 
her  triumphal  car.  Night,  dressed  in  a  starry  robe,  is  darn- 
ing Juno's  stocking.  The  star  of  evening  is  represented  by 
a  tin  mould  used  in  making  tarts.  A  damsel  with  one  eye, 
and  a  skewer  by  way  of  dagger,  is  preparing  to  represent  the 
Tragic  Muse. 

Ganymede  is  drinking  a  glass  of  gin,  to  cure  his  tooth-ache. 


PAINTING. 


83 


Flora,  looking  askance  at  a  broken  looking-glass,  smooths  her 
hair  with  a  piece  of  candle.  The  amusing  absurdities  of  the 
performance  are  without  end. 

Hogarth  was  peculiarly  the  painter  for  the  people.  He 
loved  to  contemplate  their  scenes  of  fun  and  festivity,  and  to  ex- 
pose their  follies.  His  *  Election,'  and  his  '  Cock-Match,'  give 
a  description  of  popular  scenes  in  a  manner  which  no  words 
would  have  been  capable  of  conveying.  The  'Election,'  espe- 
cially opened  a  wide  field  for  the  peculiar  style  of  his  genius. 

The  first  scene  is  The  Entertainment,  and  is  laid  at  an  inn, 
where  the  table  is  spread,  and  the  cellar  doors  thrown  open. 
Electors,  barbers,  cobblers,  and  counsellors,  sit  around  the  ta- 
ble, and  at  the  top,  the  courteous  candidate,  Mr.  Thomas  Pot- 
ter ;  into  whose  powdered  curls,  a  voter  is  shaking  the  ashes 
of  his  pipe,  with  that  easy  familiarity  which  the  times  warrant. 
A  corpulent  justice  had  choaked  upon  oysters;  a  friendly  bar- 
ber restores  him  by  opening  a  vein.  Showers  of  stones,  from 
the  opposite  party,  are  making  their  way  through  the  window. 
All  is  fierce  uproar  without,  and  wild  festivity  within. 

The  second  scene  is  The  Canvass.  Bribery  and  corruption 
are  hard  at  work.  A  freeholder  stands  in  the  midst  of  two 
agents  of  the  contending  parties,  like  the  balance  of  justice, 
with  gold  in  each  hand,  weighing  their  respective  merits.  A 
crowd  in  the  distance  are  engaged  in  attacking  a  public  house. 

The  third  scene  is  The  Polling.  The  lame,  tiie  blind,  the 
maimed,  the  dying  and  the  dead;  all  are  carried  to  the  hust- 
ings. The  fourth  represents  The  Chairing  of  the  Member. 
He  is  seated  on  a  chair,  and  carried  on  the  shoulders  of  his  con- 
stituents, amidst  riot  and  confusion,  through  the  free  and  loyal 
borough  of  Guzzledown. 


84 


PAINTING. 


In  1753,  Hogarth  published  his  Analysis  of  Beauty;  a  clear 
and  clever  work,  composed  to  establish  the  principle  that  a 
winding  line  is  the  foundation  of  all  that  is  beautiful  in  art  or 
nature.  He  died  in  1764,  aged  67,  and  was  buried  in  the 
churchyard  of  Chiswick.  Hogarth  painted  life  as  he  saw  it. 
He  gave  no  visions  of  bye-gone  things.  He  related  the  oc- 
currences of  the  passing  day;  the  folly  or  the  sin  of  the  hour. 
He  belonged  to  no  school  of  art,  and  was  the  produce  of  no 
academy.  All  who  love  the  dramatic  pictures  of  actual  life — 
who  are  pleased  with  well-directed  satire — all  who  can  be  amus- 
ed by  popular  folly,  or  moved  by  human  suffering,  must  ever 
be  the  admirers  of  his  original  and  spontaneous  genius. 


CHAPTER  XIII. 

Birth  of  Wilson — His  early  talent  for  painting — He  studies  in  Italy — Beau- 
ty of  his  landscapes — Their  Italian  character — His  merit  unappreciated — 
His  extreme  poverty — His  death — Remark  of  Fuseli — The  paintings  of 
Wilson  highly  esteemed  after  his  death — Birth  of  Reynolds — His  early 
genius — Studies  under  Hudson — Excites  the  jealousy  of  that  artist — Goes 
to  Italy — Course  of  his  studies  in  Rome — His  profound  attention  to 
painting — Returns  to  London — Opposition  of  rival  artists — His  genius 
and  fame — His  increasing  reputation — His  wealth — Change  in  his  man- 
ner of  living — Distinguished  literary  men  court  his  society — His  most 
famous  paintinrrs — He  is  chosen  President  of  the  Royal  Academy — Of 
his  discourses — Anecdote  of  Johnson — Anecdote  of  Reynolds — Visits  the 
Continental  galleries — His  sudden  blindness — Continues  his  lectures — 
Accident  which  happened  at  the  academy — Death  of  Reynolds — Style  of 
his  paintings — His  numerous  portraits — Estimation  in  which  they  are 
held. 

Richard  Wilson  was  born  in  Montgomeryshire,  in  1713. 
His  love  of  painting  appeared  early,  though  little  encouraged 


PAINTING. 


85 


by  his  father,  who  was  a  clergyman  of  old  family.  He  com- 
menced by  painting  portraits,  but  having  gone  to  Italy,  he  was 
induced  by  the  advice  of  Vernet,  and  of  an  Italian  artist,  nam- 
ed Zuedrelli,  to  apply  himself  solely  to  the  study  of  landscape. 

He  studied  with  assiduity  the  works  of  the  ancient  masters, 
and  compared  them  carefully  with  the  works  of  nature.  By 
these  means,  he  caught  the  hue  and  character  of  Italian  scen- 
ery, and  steeped  his  spirit  in  its  splendor.  His  landscapes 
seem  fanned  with  tlie  pure  air,  and  warmed  with  the  glowing 
suns  of  that  classic  region.  Ruined  temples,  wooded  tr  ams, 
and  tranquil  lakes,  arc  the  scenes  that  his  pencil  loves  to  dwell 
upon. 

Wilson  had  a  poet's  feeling,  and  a  poet's  eye.  He  selected 
his  scenes  judiciously,  and  represented  them  in  all  the  beauty 
and  luxury  of  nature.  But  his  merit  was  unappreciated,  and 
unrewarded.  In  the  heart  of  the  capital,  he  lived  in  indigence, 
obscurity,  and  wretchedness.  He  sold  his  pictures  to  sordid 
pawnbrokers.  Pressed  by  the  sharpness  of  hunger,  he  paint- 
ed one  piece  in  exchange  for  a  pot  of  beer  and  the  remains  of 
a  Stilton  cheese. 

As  his  fortune  declined,  his  temper  grew  peevish;  and  h« 
became  soured  by  neglect.  He  died  in  1782,  in  the  6Jth  year 
of  his  age 

'  Wilson,*  said  Fuscli,  *  observed  nature  in  all  her  appear- 
ances, and  had  a  characteristic  touch  for  all  her  forms.  But 
thou;:h  in  effects  of  dewy  freshness,  and  silent  evening  lights, 
few  have  equalled,  and  fewer  excelled  him;  his  grandeur  is 
oftener  allied  to  terror,  bustle,  and  convulsion,  than  to  calm- 
ness and  tranquillity.' 


86 


PAINTING. 


The  envy  of  rivals,  and  the  neglect  of  a  tasteless  public, 
terminated  at  Wilson's  death,  and  his  landscapes  begin  to  be 
valued  with  those  of  Poussin,  and  of  Claude  Lorraine. 

Sir  Joshua  Reynolds  was  born  at  Plympton,  in  Devonshire, 
July  16th,  ll'2S,  three  months  before  the  death  of  Sir  Godfrey 
Kneller.  He  was  the  son  of  a  respectable  English  clergy- 
man, of  simple  manners  and  more  piety  than  wit.  Reynolds 
when  very  young,  gave  proofs  of  his  future  genius.  At  the 
age  of  eight,  he  had  a  good  understanding  of  the  principles  of 
perspective,  and  made  a  drawing  of  Plympton  School,  in 
which  he  showed  that  he  had  already  made  considerable  pro- 
gress in  the  rules  of  art. 

He  was  placed  under  the  care  of  a  portrait  painter  of  the 
name  of  Hudson,  a  man  of  little  skill  and  less  talent,  whose 
jealousy  he  fortunately  excited,  since  it  occasioned  a  separa- 
tion between  them.  His  works  during  this  period  contain  in 
general  the  germ  of  some  of  his  future  graces;  but  the  atti- 
tudes are  common,  and  have  little  excellence  of  coloring,  or 
power  of  expression. 

At  the  age  of  twenty-three,  the  increasing  talents  of  Rey- 
nolds had  secured  him  both  fame  and  friends.  Rome,  which 
seems  like  the  Parnassus  of  painters,  was  frequently  present 
to  his  imagination.  He  longed  to  tread  those  classic  haunts; 
to  view  the  glories  of  the  Vatican  and  the  Sistine  Chapel,  and 
to  study  the  great  works  of  past  ages.  In  1749  he  set  sail  for 
Lisbon  with  Captain  Keppel,  visited  that  city,  landed  at  Al^ 
giers,  sailed  for  Minerva,  and  proceeded  thence  to  Rome,  by 
way  of  Leghorn. 

Of  the  character  and  course  of  his  studies  in  Rome,  he  has 


PAINTING.  87 

left  us  a  minute  account.  His  opinions  concerning  the  works 
of  the  great  masters  are  delivered  in  a  manner  equally  candid, 
clear,  and  accurate;  as  are  also  his  first  sensations  on  visiting 
the  Vatican;  and  his  disappointment  at  the  first  view  of  Ra- 
phael's paintings. 

Few  original  works  came  from  the  hand  of  Reynolds  while 
he  remained  at  Rome.  He  painted  a  noble  portrait  of  himself, 
which  he  left  there.  From  Rome,  he  went  to  Bologna  and 
Genoa.  He  was  not  one  of  those  artists,  who  see  or  think 
they  see  through  all  the  deep  mysteries  of  conception  and  ex- 
ecution at  a  glance.  He  perused  and  re-perused,  compared 
and  considered  with  the  anxiety  of  one  who  was  resolved  to 
be  counted  with  the  foremost. 

It  has  been  observed  that  Reynolds  admired  one  style,  and 
adopted  another;  that  with  all  his  admiration  of  the  works  of 
antiquity;  with  all  his  enthusiasm  for  *  the  grand  style' — for 
Michael  Angelo  and  Raphael,  he  dedicated  his  own  pencil  to 
works  of  a  totally  different  character. 

He  returned  to  England  in  175!2,  where  he  at  first  met  with 
the  opposition  which  genius  is  commonly  doomed  to  encounter. 
The  novelty  of  his  attempts  appeared  an  innovation  upon  the 
orthodox  system  of  portrait  manufacture.  '  Reynolds,'  said  his 
old  master  Hudson,  *  you  don't  paint  so  well  as  when  you  left 
England.'  '  Ah!  Reynolds  this  will  never  answer,'  said  Ellis, 
an  artist  of  some  eminence.  *  Why,  you  don't  paint  in  the 
least  like  Sir  Godfrey.' 

But  his  contest  with  his  fellow  artists  was  of  short  duration. 
The  excellence  of  his  portraits  began  to  attract  universal  at- 
tention.   His  fame  spread  far  and  wide,  and  the  number  of  his 


88 


PAINTING. 


commissions  augmented  daily.  Success  begot  confidence  in 
his  own  powers.  He  found  that  in  expression  and  coloring  no 
one  could  rival  him.  He  tried  bolder  attitudes,  and  greater 
diversity  of  character,  and  succeeded  in  all  his  attempts. 

His  sitting-room  was  filled  with  the  opulent  and  the 
distinguished  of  both  sexes;  women  who  wished  to  be  trans- 
mitted as  beauties,  and  men  who  wished  to  appear  as  heroes 
or  philosophers.  Riches  flowed  upon  him.  He  changed  his 
style  of  living,  purchased  a  house  in  Leicester  square,  built  a 
splendid  gallery  for  the  exhibition  of  his  works;  and  finally 
taxed  his  invention  in  the  production  of  a  carriage,  with  wheels 
carved  and  gilt,  and  the  four  seasons  of  the  year  engraved  on 
its  pannels. 

Johnson,  Percy,  Goldsmith,  Burke,  and  Garrick  were  his 
constant  guests.  His  picture  of  Garrick  between  Tragedy 
and  Comedy,  has  been  much  praised.  Lady  Sarah  Bembury 
sacrificing  to  the  graces,  Lady  Elizabeth  Keppel  in  the  dress 
she  wore  when  bridesmaid  to  the  Queen — and  Lady  Walde- 
grave,  one  of  the  beauties  of  the  day,  appeared  from  Reynolds's 
pencil  in  1765,  and  have  been  frequently  considered  among 
his  best  performances. 

The  Royal  Academy  was  planned  and  proposed  in  1768  by 
Chambert,  West,  Cotes  and  Moser.  Of  this  distinguished  so- 
ciety, Reynolds  had  the  honor  of  being  chosen  President.  The 
King  offered  voluntarily  to  supply  all  deficiencies  towards  the 
furtherance  of  their  plans,  by  an  annual  allowance  from  his 
private  purse.  He  also  bestowed  the  honor  of  knighthood  up- 
on the  President,  in  order  to  give  dignity  to  the  Royal  Acade- 
my of  Great  Britain. 


1>AINTING. 


89 


Sir  Joshua  imposed  upon  himself  the  task  of  composing  and 
delivering  discourses  for  the  instruction  of  the  students.  Of 
these  he  wrote  iilteen,  all  distinguished  alike  for  learning  and 
clearness.  His  manner  of  recitation  was  cold,  embarrassed, 
and  sometimes  unintelligible.  *  Your  tone  was  so  low,  Sir 
Joshua,'  said  a  nobleman  to  him,  *  that  I  scarce  heard  a  word 
you  said.'    *  That  was  to  my  advantage,'  said  the  President. 

It  is  related  that  he  complained  one  day,  in  presence  of  John- 
son, of  the  difficulty  of  finding  a  plate  oi  copper  large  enough 
for  historical  subjects.  '  What  foppish  obstacles  are  these!' — 
said  Johnson;  '  here  isThrale,  who  has  a  thousand-tun  copper. 
You  may  paint  it  all  round  if  you  will.  1  suppose  it  will  serve 
him  to  brew  in  afterwards.' 

Reynolds  was  skilful  in  compliments.    When  he  painted  the 
portiait  of  Mrs.  Siddons,  as  the  Tragic  IVluse,  he  wrought  his 
'    name  on  the  border  of  her  robe.    The  actress  went  near  to 
examine  the  letters.    '  Madam,'  said  the  artist,  *  1  could  not 
lose  this  opportunity  of  sending  my  name  to  posterity  on  the 
hem  of  your  garment.' 

In  17 BO,  the  Royal  Academy  was  removed  to  Somerset 
House.  Soon  after,  Reynolds  set  off  on  a  tour  among  the  gal- 
leries of  the  Continent;  visited  Mecklin,  Leyden,  Antwerp,  and 
observed  the  works  of  Rubens  and  other  distinguished  mas- 
ters. In  the  66th  year  of  his  age,  he  was  employing  himself 
in  finishing  the  portrait  of  the  Marchioness  of  Hertford.  A 
sudden  dimness  canje  over  his  sight.  He  sat  a  few  minutes  in 
mute  reflection;  laid  down  his  pencil,  and  never  lifted  it  more. 

He  continued  to  discourse  at  the  Academy;  and  one  day 
when  the  room  was  crowded  to  suflbcation,  and  the  President 
7 


90 


PAINTING. 


was  first  commencing  his  lectures,  a  beam  in  the  floor  gave 
way  with  a  loud  crash.  The  audience  rushed  to  the  door. 
Sir  Joshua  alone  sat  silent  and  unmoved. 

The  floor  only  sunk  a  little,  and  was  soon  supported.  The 
company  resumed  their  seats;  and  the  President  remarked 
that  had  the  floor  fallen  in,  the  whole  company  must  have  been 
killed,  and  the  arts  in  Britain  thrown  back  two  hundred  years 
in  consequence. 

This  celebrated  artist  died  in  1792,  aged  68.  He  was  inter- 
red in  St.  Paul's  Cathedral,  and  accompained  to  the  grave  by 
the  most  illustrious  of  the  land. 

The  portraits  of  Reynolds  are  equally  numerous  and  excel- 
lent. In  character  and  expression  he  has  never  been  surpass- 
ed. He  is  always  equal — natural  and  unaffected;  yet  over 
ho  meanest  head  he  sheds  a  halo  of  dignity.  His  men  are'all 
nobleness;  his  women  all  loveliness,  and  his  children  all  sim- 
plicity. His  influence  on  the  taste  of  Britain  was  great,  and 
will  be  lasting.  He  painted  upwards  of  150  historical  subjects. 
These,  together  with  his  numerous  portraits,  are  chiefly  in 
England,  where  they  continue  to  embellish  the  galleries  or 
apartments  of  the  titled  and  opulent. 


PAINTING. 


91 


CHAPTER  XIV. 

Of  Gainsborough — The  scenes  in  which  he  spent  his  boyhood — Studies  un- 
der Hayman — His  love  of  music  and  painting — His  marriage — Acquisi- 
tion of  fortune — Increasing  celebrity — His  portrait  of  the  Royal  Family 
— Anecdote  of  Gainsborough — His  finest  compositions — Peculiar  beauty 
of  his  landscapes — Of  his  cottage  children — Account  of  his  death  —Barry, 
the  historical  painter — Style  of  his  works — His  first  performance — His 
introduction  to  Burke — Studies  in  London — His  journey  to  Rome — His 
opinion  concerning  Italian  artists — His  conduct  while  in  Rome — Anec- 
dote of  Nollekens — Barry  returns  to  London — His  painting  of  Venus-Hig 
chief  compositions — His  literary  performance — His  painting  for  the  Aca- 
demy—Character of  Barry — His  death — Some  remarks  upon  English 
paintings. 

Gainsborough,  who  with  Wilson  laid  the  foundation  of  the 
English  school  of  landscapes,  was  a  native  of  Sudbury,  in  Suf- 
folk; and  was  born  in  1727.  The  beauty  of  the  country,  where 
his  earliest  days  were  spent,  seems  to  have  first  inspired  iiis 
mind  with  a  love  of  the  art. 

Scenes  are  pointed  out  where,  in  his  boyish  days,  he  would 
sit  and  fill  his  copy-book  with  sketches  of  trees  and  flowers, 
and  whatever  struck  his  fancy.  No  fine  clump  of  trees,  no 
romantic  glade,  no  cattle  grazing  nor  flocks  reposing,  nor 
peasants  at  their  rural  work,  escaped  his  diligent  pencil. 

At  the  age  of  fourteen,  he  was  sent  to  London,  and  studied 
under  Hayman,  a  companion  of  Hogarth's,  In  his  18th  year, 
his  talcTits  had  acquired  him  a  considerable  reputation.  He 
passed  his  time  between  music  and  painting,  and  was  passion- 
ately attached  to  both.  He  married  a  Scotch  lady  of  good 
family,  and  great  beauty. 

Having  acquired  a  considerable  fortune  at  Bath  by  meant 
of  his  talents,  he  removed  to  London,  and  continued  his  career, 


92 


FAINTING?. 


both  in  porfrait  painting  and  landscape,  with  increasing  snc- 
cess.  Sir  Joshua  Reynolds  was  then  in  high  favor,  yet  in  the 
estimation  of  many,  Gainsborough  was  a  dangerous  rival  to 
the  President  himself. 

His  family-piece  of  the  King,  Queen  and  three  Princesses^ 
has  been  much  admired.  The  Duchess  of  Devonshire,  then 
tn  the  bloom  of  youth  and  beauty,  sat  to  him  for  her  portrait. 
Her  dazzling  loveliness,  and  flashing  wit  took  away  the  power 
of  his  pencil  and  benumbed  his  hand.  After  the  portrait  was 
fi'iished,  he  drew  his  wet  pencil  across  the  mouth,  exclaiming 
^  Her  grace  is  too  hard  for  me,'  and  never  would  attempt  it 
again. 

One  of  his  favorite  compositions  was  *  The  Woodman  and 
his  Dog  in  the  storm,'  also  his  *  Shepherd's  Boy  in  a  shower.' 
There  is  something  inexpressibly  mournful  in  the  expression 
of  both — a  kind  of  rustic  sublimity,  new  to  English  painting. 
His  '  Cottage  Door*  is  particularly  striking  and  natural.  It 
represents  a  youthful  cottage  matron  with  an  infant  in  her  arms^ 
and  several  older  children  grouped  round  her,  all  standing  at 
the  door  of  a  rustic  cabin. 

His  '  Lodge  in  the  Wilderness'  presents  a  beautiful  picture 
of  perfect  seclusion.  It  is  shut  up  in  a  close  wooded  nook. 
Glimpses  of  streams  are  seen  through  the  branches  of  the  trees. 
The  coloring  is  rich,  and  over  all,  there  is  a  brown  golden 
color,  common  to  the  works  of  Gainsborough.  The  young 
cottage  woman  is  the  very  beau  ideal  of  rustic  loveliness. 

In  all  the  landscapes  of  Gainsborough,  there  are  human  fig- 
urcjs,  which  inspire  us  with  a  deep  and  human  sympathy.  His 
paintings  have  a  natural  look.    They  do  not,  like  Wilson's, 


PAINTING, 


IjTeathe  an  Italian  air.  His  children  run  wild  and  free  among 
scenes  and  woods  wilder  than  themselves,  with  a  rustic  grace, 
and  a  native  beauty,  which  distinguish  them  from  the  figures  of 
all  other  artists.  When  on  his  death-bed,  he  sent  for  Reynolds, 
with  whom  he  had  not  lived  on  good  terms,  and  peace  was 
made  between  them.  '  We  are  all  going  to  heaven/  said  the 
dying  artist,  *  and  Vandyke  is  of  the  company  ;  '  and  immedi- 
ately expired,  A.  D.  J  788,  in  the  61st  year  of  his  age. 

Barry,  the  historical  painter,  was  born  at  Cork  in  Ireland,  in 
1741.  In  his  performances  we  see  imagination  and  invention, 
running  riot  without  the  control  of  judgment — Irish  impetuosi- 
ty exercised  upon  classic  subjects. 

When  yet  young  and  unknown,  he  painted  his  first  celebra- 
ted piece-*  St.  Patrick  converting  the  King  of  Cash-tl,'  and  car« 
ried  it  in  his  hand  to  Dublin.  He  was  then  utterly  unfriend- 
ed, and  unknown;  poor,  and  modestly  clad.  The  picture  was 
exhibited  and  admired.  The  name  of  the  painter  was  demand- 
ed; and  when  Barry  stept  modestly  farward,  no  one  would  be- 
lieve him.  His  brow  glowed,  he  burst  into  tears,  and  hurried 
out  of  the  room.  The  whole  scene  was  observed  by  Edmund 
Burke,  who  was  as  good  hearted  as  he  was  talented.  He 
sought  the  young  artist  out,  commended  and  befriended  him. 

Barry  pursued  his  studies  for  a  year  in  London;  then  by  the 
assistance  of  his  friend,  was  enabled  to  perform  what  Reynolds 
considered  a  necessary  pilgrimage  for  every  artist, — a  journey 
to  Rome.  In  the  works  of  Raphael  and  Michael  Angelo  he 
saw  little  to  interest  him.  The  grace  and  simplicity  of  Gre- 
cian sculpture  usurped  all  his  admiration.  He  preached  this 
unheard  of  heresy  at  Rome,  in  the  midst  of  the  whole  irritable 
tribe  of  artists^  both  English  and  foreign. 


94 


FAINTIN6?. 


He  spent  his  time  in  hostile  bickerings  with  wandering  vir- 
tuosi and  pedantic  connoisseurs.  He  threw  his  sarcasms  right 
and  left;  dealt  his  opinions  freely  and  unreservedly,  and  drew 
upon  himself  the  fear  of  some,  and  the  hatred  of  all  It  was 
said,  that  one  evening,  as  Barry  was  leaving  a  coffee-house  in 
Rome  in  company  with  Nollekens  the  artist,  he  took  the  liber- 
ty of  exchanging  hats  with  him.  Barry's  was  edged  with  gold 
lace,  and  Nollekens'  was  a  very  shabby  plain  one.  Next 
morning  Nollekens,  on  returning  the  hat,  begged  to  know  the 
cause  of  his  exchange.  *  Why,  to  tell  you  the  truth,  my  dear 
Joey,'  answered  Barry,  '  I  fully  expected  assassination  last 
night,  and  I  was  to  have  been  known  by  my  gold-laced  hat.' 

Barry  remained  five  years  in  Rome,  and  laid  in  a  vast  stock 
of  knowledge,  notwithstanding  the  time  which  he  consumed  in 
petty  warfare.  On  his  arrival  in  England,  he  me  a^uredhim- 
self  at  once  by  the  most  lovely  of  all  Grecian  productions,  and 
painted  Venus  rising  from  the  sea.  The  picture  was  exquisite, 
but  excited  no  sympathy.  Loftier  minds  and  happier  hands 
had  exhausted  the  subject.  He  next  executed  a  fine  painting 
of  Jupiter  and  Juno,  but  what  were  Jupiter  and  Juno  to  the 
public  of  1773  ? 

His  *  Mercury  inventing  the  Lyre  '  is  a  sweet  and  classic  pro- 
duction. The  god  stands  on  the  sea  shore  with  the  shell  of  a 
tortoise  in  his  hand,  listening  to  the  sound  which  one  of  its  ex- 
tended fibres  has  emitted  to  the  touch  of  his  finger.  Finding 
that  his  painting  failed  in  inspiring  the  English  nation  with  a 
love  of  historical  painting,  he  published  a  work,  which  may  be 
considered  as  the  first  literary  production  of  the  Royal  Acad- 
emy. It  was  entitled  *  Inquiry  into  the  Real  and  Imaginary 
Obstructions  to  the  Progress  of  Art  in  England.' 


PAINTING. 


95 


He  then  determined  to  offer  his  pencil  to  the  Society  of  Arts; 
and  applied  for  permission  to  adorn  their  great  room  with  a 
series  of  historical  paintings,  all  from  his  own  hand,  and  whol- 
ly at  his  own  expense.  When  he  made  this  magnificent  offer, 
he  had  but  sixteen  shillings  in  his  pocket.  After  seven  years 
of  hard  struggles,  during  which  he  had  scarcely  means  to  pro- 
cure the  common  necessaries  of  life,  he  accomplished  his  pur- 
pose. 

He  was  one  of  those  ardent  and  generous  spirits,  whom  the 
narrow-minded  and  the  sordid  reproach  as  idle  dreamers  and 
enthusiasts.  His  passion  for  the  art  amounted  nearly  to  mad- 
ness. He  literally  hungered  and  thirsted  for  its  sake;  and 
from  boyhood  to  the  tomb  devoted  all  his  faculties  to  establish 
a  school  of  painting,  which,  avoiding  all  common  and  fannliar 
subjects,  should  embody  one  that  was  dignified  and  sublime. 
He  wanted  the  gift  of  persuasion,  and  a  graceful  conciliating 
spirit.  Yet  such  a  man  has  with  all  his  faults  a  deep  and 
lasting  claim  to  our  admiration.  He  died  in  1806,  of  fever 
and  pleurisy. 

Many  other  names  of  minor  reputation  might  be  mentioned 
who  painted  historical  subjects,  but  to  no  extent.  This  branch 
of  art,  but  for  the  labors  of  the  late  Sir  Benjamin  West,  woulJ 
have  been  without  a  representative  in  England.  When  Eng- 
lish artists  have  forsaken  English  nature,  or  have  attempted  to 
unite  classical  allegory  with  heroic  landscape,  they  have  fail- 
ed in  this  d(  l  ^htful  branch. 


96 


PAINTING. 


CHAPTER  XV. 

Of  Blake — His  wild  and  sincrular  character — Imagines  himself  visited  by 
spirits — Anecdote  of  his  taking"  the  portrait  of  Lot — His  scriptural  pieces 
— His  poverty  and  cheerfulness — His  death — State  of  the  art  at  this  pe- 
riod— Of  Morland — Bird — Opie— Birth  of  Fuseli—  His  introduction  to  Sir 
J.  Reynolds — Reynolds'  opinions  of  his  drawinors — Fuseli  goes  to  Rome 
— His  enthusiasm  for  the  art,  and  above  all  for  Michael  Angelo's  works — 
His  return  to  England — His  painting  of '  the  Nightmare' — Paints  the 
Shakspeare  Gallery — Sources  from  whence  he  drew  his  ideas — Paints 
the  Milton  Gallery — Anecdote  of  Fuseli — Obtains  the  professorship  of 
painting — His  lectures — Becomes  keeper  of  the  Royal  Academy — His 
eccentric  character — Anecdotes  concerning  him — Style  of  his  works — 
Remarks  on  their  beauties  and  defects — Of  Sir  Thomas  Lawrence — His 
talents — Remark  of  Fuseli  concerning  him — John  Martin — Present  state 
of  the  art  in  England — Comparison  between  British  and  foreign  artists — 
Of  Sir  Henry  Raeburn — Faults  and  excellence  of  his  style — Of  American 
Art. 

The  name  of  Blake,  at  once  painter  and  poet,  must  not  be 
forgotten;  a  man  whose  fancy  over-mastered  his  reason,  who 
seemed  to  live  in  a  world  of  spirits,  and  dreamed  himself  out 
of  the  sympathies  of  actual  life.  He  was  by  nature  a  poet,  a 
visionary,  and  an  enthusiast.  He  imagined  himself  under 
spiritual  influences:  he  saw  the  forms  and  heard  the  voices  of 
the  worthies  of  other  days.  His  works  are  beautiful,  but  ob- 
scure and  mystic. 

He  believed  himself  visited  by  visionary  forms,  and  drew 
them  as  they  appeared  to  him.  A  gentleman  calling  on  him 
one  evening,  found  him  sitting  drawing  a  portrait  with  a  face 
expressive  of  deep  anxiety  and  interest.  The  artist  looked  up 
and  drew — yet  no  living  soul  was  visible.  *  Disturb  me  not !' 
said  he  in  a  whisper.  '  I  have  one  sitting  to  me.'  '  Sitting  to 
you!*  exclaimed  the  astonished  visitor,  'where  is  he,  and 


PAINTING. 


97 


what  is  he?  I  see  no  one.'  *  But  /  see  him,  Sir!'  answered 
Blake,  haughtily,  *  there  he  is,  his  name  is  Lot.  You  may 
read  of  him  in  scripture.  He  is  sitting  for  his  portrait.' 

Even  while  indulging  in  these  wild  fancies,  he  drew  and  en- 
graved the  noblest  of  all  his  productions,  '  The  Inventions,* 
for  the  Book  of  Job.  In  representing  these  scriptural  narra- 
tives he  excelled.  But  the  waywardness  of  his  fancy,  and 
his  peculiar  style  were  ill  adapted  for  popularity.  He  was  re- 
duced to  a  miserable  garret  and  a  crust  of  bread,  and  bore  his 
poverty  cheerfully,  supported  through  all  his  distresses  by  the 
unchanging  affection  of  his  wife,  and  by  his  own  singular  and 
lofty  imagination,  which  carried  his  thoughts  above  all  sublu- 
nary matters.  He  died  in  1828,  leaving  behind  him  many  no- 
ble and  original  productions. 

The  conclusion  of  the  18th  century  also  produced  other 
names  worthy  of  record  in  the  annals  of  English  art.  Mor- 
land,  an  original  and  clever  painter  of  rustic  and  familiar  scenes, 
but  whose  life  was  a  melancholy  career  of  vice  and  folly  ; 
Bird,  who  excelled  in  natural  and  touching  representations 
of  homely  and  social  things;  and  Opie,  the  self-taught  artist, 
celebrated  not  only  for  his  own  genius,  but  as  being  the  hus- 
band of  one  of  the  most  talented  women  of  the  age. 

Fuseli,  though  a  Grerman  by  birth,  being  born  at  Zurich  in 
1741,  may  be  classed  among  the  British  artists,  as  having  en- 
riched their  language  by  his  compositions,  and  adorned  their 
metropolis  by  his  paintings. 

While  yet  hesitating  between  painting  and  literature,  he 
was  introduced  to  Sir  Joshua  Reynolds,  and  showed  him  seve- 
ral of  his  drawings.    *  Young  man,'  exclaimed  the  President, 


98 


PAINTING. 


*  were  I  the  author  of  these  drawings,  and  were  offered  ten 
thousand  a  year  not  to  practise  as  an  artist,  I  would  reject  the 
offer  with  contempt/ 

This  opinion  decided  the  destiny  of  Fuseli.  With  unbounded 
enthusiasm,  great  learning,  and  a  vivid  imagination  he  set  off 
for  Rome. 

He  was  accompanied  by  Armstrong,  the  poet,  his  friend  and 
counsellor.  It  was  a  story  which  in  after  days  Fuseli  loved  to 
repeat,  how  he  lay  on  his  back,  day  after  day,  and  week  after 
week,  musing  on  the  splendid  ceiling  of  the  Sistine  Chapel;  on 
the  unattainable  grandeur  of  Michael  Angelo.  He  imagined 
that  he  drank  in  the  spirit  of  the  sublime  artist,  and  that  by 
studying  in  the  Sistine  Chapel,  the  very  mantle  of  inspiration 
was  suspended  over  him. 

Fuseli  seldom  thought  with  sober  feelings  either  upon  art 
or  literature.  He  poured  out  his  admiration  in  words  which 
invested  his  subject  with  hues  of  heavenly  brightness;  but  his 
sarcasm  cut  like  a  two-edged  sword,  and  his  irony  was  keen 
and  bitter.  He  had  little  sympathy  with  gentleness  and  re- 
pose. He  shunned  Coreggio  and  Raphael,  and  dwelt  upon 
the  vigorous  and  startling  productions  of  the  Florentine. 

He  even  affected  the  dress,  and  assumed  the  manners  of 
Buonarotti,  and  when  walking  in  a  reverie,  would  occasional- 
ly call  out  *  Michael  Angelo!' 

In  1779  he  returned  to  England,  and  commenced  his  pro- 
fessional career.  There  he  found  Reynolds  at  the  height  of 
his  reputation  ;  Wilson  and  Gainsborough  at  the  head  of  land- 
scape painting;  and  Barry  and  West  engrossing  between  them 
the  wide  empire  of  religious  and  historic  composition.  There 
was  nothing  left  for  Fuseli  but  the  poetical. 


PAINTINO, 


99 


The  first  work  which  displayed  his  genius  in  England  was 
his  famous  painting  of  the  '  Nightmare.'  His  next  undertak- 
ing was  one  worthy  of  the  highest  genius,  '  The  Shakspeare 
Gallery.'  The  Tempest,  the  Midsummer  Night's  Dream, 
King  Lear,  and  Hamlet  suggested  the  best  of  his  eight  pic- 
tures from  Shakspeare.  That  from  Hamlet  is  strangely  wild 
and  solemn.  The  ghost  is  represented  as  a  sad  and  majes- 
tic shape,  lofty  and  godlike. 

Dante's  Inferno  supplied  him  with  his  Francesca  and  Paolo  ; 
Virgil  with  Dido,  and  from  Sophocles  he  took  the  idea  of  his 
iEdipus.  They  were  all  marked  by  poetic  freedom  of  thought, 
and  more  than  poetic  extravagance  of  action.  In  1790  he  com- 
menced the  Milton  Gallery  of  paintings.  He  completed  it  in 
ten  years.  It  consisted  of  forty-seven  pictures  from  Milton's 
works.  Of  these  paintings,  that  which  is  most  admired  by 
connoisseurs,  is  The  Lazar-House.  That  which  is  the  fa- 
vorite with  the  multitude  is  the  rising  of  Satan  at  the  touch  of 
Ithuriel's  Spear. 

With  all  modern  attempts  to  embody  Scripture,  Fuseli  was 
difiicult  to  please.  When  Northcote  exhibited  his  Judgment  of 
Solomon,  Fuseli  looked  at  it  with  a  sarcastic  smirk  on  his  face; 
'How  do  you  like  it?' — inquired  Northcote.  'Much — very 
much,'  said  Fuseli,  ironically — '  the  action  suits  the  word. 
Solomon  holds  out  his  fingers  like  a  pair  of  open  scissors  at 
the  child,  and  says,     Cut  it."    I  like  it  much.' 

In  1799,  the  professorship  of  painting  was  bestowed  upon 
Fuseli.  During  his  professorship,  he  delivered  nine  lectures 
upon  the  art  of  painting,  of  which  only  six  are  printed.  The 
crowds  who  v  c  ut  to  hear  him  were  great,  and  their  cheers  ve- 


100 


PAINTING. 


hement.  The  learning,  observation,  and  feeling,  exhibited  in 
these  disquisitions  astonish  us  at  every  page,  and  there  is  an 
original  power  in  his  diction,  such  as  no  man  has  before  or 
since  exhibited  in  a  language  not  his  own. 

On  the  death  of  Wilton,  the  sculptor,  Fuseli  became  Keep- 
er of  the  Royal  Academy.  Notwithstanding  his  satire  and 
severity,  he  was  liked  by  the  young  students.  When  his  an- 
ger became  tempestuous  he  would  exclaim,  'By  Jupiter!  There 
is  more  genius  in  the  claw  of  one  of  Michael  Angelo's  eagles, 
than  in  all  your  heads  put  together! 

'  Here,  Sir' — said  a  student  one  day,  holding  up  a  drawing; 
'  I  finished  it  without  using  a  crumb  of  bread.'  *  Buy  a  two- 
penny loaf,  Sir,  and  rub  it  out,'  said  Fuseli. 

'  1  hope  I  don't  intrude,'  said  a  person  who  came  to  speak 
to  him,  'You  do  intrude,'  said  Fuseli  in  a  surly  tone.  '  Do 
I?'  said  the  visitor;  'Then  I'll  call  to-morrow.'  'No,  Sir, 
don't  come  to-morrow,  for  then  you  would  intrude  a  second 
time.' 

The  main  wish  of  Fuseli  both  in  writing  and  painting,  was  to 
startle  and  astonish.  He  liked  to  be  called  Fuseli  the  daring 
and  imaginative,  the  illustrator  of  Milton  and  Shakspeare,  the 
rival  of  Michael  Angelo.  It  cannot  be  denied  that  a  certain 
air  of  extravagance  is  visible  in  most  of  his  works.  A  com- 
mon mind  perceives  these  defects  at  once,  and  ranks  him  with 
the  wild  and  unsober;  a  poetic  mind  does  not  permit  these 
blemishes  to  hide  the  splendor  of  his  conceptions. 

His  coloring  was  as  original  as  his  design.  It  was  a  kind  of 
supernatural  hue,  harmonizing  with  his  works. 

He  died  at  Putney  Hill,  the  seat  of  the  Countess  of  Guild- 
ford, on  the  16th  of  April,  1825,  in  the  84th  year  of  his  age. 


PAINTING. 


101 


Sir  Thomas  Lawrence,  the  late  President  of  the  Royal 
Academy,  was,  during  his  successful  career,  the  first  artist 
in  Europe.  His  female  heads  are  remarkable  for  exquisite 
loveliness,  and  perfect  finish.  Fuseli  has  observed:  *  The 
works  of  Sir  Joshua  Reynolds  are  unequal,  many  of  them  in- 
different, though  some  cannot  be  surpassed;  but,  on  the  other 
hand,  even  the  most  inferior  picture  from  the  hand  of  Sir  Thom- 
as Lawrence,  is  excellent.'  This  artist  was  born  at  Bristol  in 
1769,  and  at  a  very  early  age  exhibited  proofs  of  his  talent  for 
painting.  He  is  said  to  have  sketched  portraits  with  success 
in  his  fifth  year.  In  1782  his  father  removed  to  Bath,  where 
the  son  was  much  employed  in  taking  portraits  in  Crayon;  and, 
having  made  a  fine  copy  from  Raphael,  of  the  Transfiguration, 
he  received  from  the  Society  of  Arts  the  compliment  of  their 
silver  palette.  For  six  years  he  was  the  sole  support  of  his 
father  and  a  large  family.  In  1787  the  family  removed  to 
London,  and  Lawrence  was  admitted  a  student  of  the  Royal 
Academy. 

His  success  was  now  very  rapid  and  brilliant.  1792,  he  was 
made  painter  to  the  king,  and  was  soon  considered  the  first 
portrait  painter  of  the  time  in  England.  In  1815,  he  was 
knighted  by  the  Prince  Regent,  who  employed  him  to  take  the 
likenesses  of  the  sovereigns,  and  the  most  distinguished  per- 
sons of  their  suite.  He  was  the  successor  of  West  as  presi- 
dent of  the  Royal  Academy,  and  held  this  oflTice  till  his  sudden 
death,  in  1830. 

His  portraits  are  striking  likenesses,  and  display  freedom 
and  boldness,  but  his  later  ones  are  charged  with  n.annerism, 
and  with  a  want  of  accurate  drawing.    For  the  last  twenty 


102 


PAINTING. 


years  of  his  life,  his  income  was  from  £10,000  to  £20,000;  but 
he  died  poor,  in  consequence  of  his  desire  to  possess  the  most 
remarkable  and  costly  specimens  of  art.  The  personal  ap- 
pearance of  Sir  Thomas  Lawrence  was  striking  and  agreea- 
ble, though  his  restless  manner  betrayed  an  unquiet  spirit. 

The  celebrated  living  artist,  John  Martin,  was  born  in 
1789,  at  Haydon-bridgc  on  the  Tyne.  He  was  first  inspired 
with  a  love  for  the  art,  by  seeing  some  drawings  made  by  his 
brother,  which  he  immediately  copied  and  surpassed.  After 
struggling  with  a  variety  of  difficulties,  he  went  to  London  and 
their  obtained  patronage. 

His  first  successful  picture  was  *  Sadak  in  search  of  the  Wa- 
ters of  oblivion.'  This  was  followed  by  Adam  and  Eve  in 
Paradise,  Joshua,  the  Destruction  of  Babylon,  Belshazzar's 
Feast,  and  the  Destruction  of  Herculaneum.  He  has  since 
executed  a  magnificent  picture  of  the  Fall  of  Nineveh,  and 
another  representing  the  Deluge.  All  his  pictures  have  been 
engraved  by  himself 

In  1830,  engravings  of  his  Belshazzar,  Joshua,  and  the  Del- 
uge, were  presented  by  the  French  Academy  to  the  King  of 
France,  who  ordered  a  medal  to  be  struck  and  sent  to  the  ar- 
tist, as  a  token  of  his  esteem.  The  genius  of  Mr.  Martin  leads 
him  to  subjects  of  a  vast,  terrible,  obscure  and  supernatural 
character.  His  style  is  gorgeous  and  sublime,  but  he  is  de- 
ficient in  drawing  and  finish  of  coloring.  His  soul  is  full  of 
poetry,  but  he  wants  some  of  the  excellences  of  the  artist. 

Coarse  and  undetailed,  though  talented  execution  has  over- 
spread every  department  of  the  British  school.  Compared  with 
foreign  arts,  its  distinctive  character  is  strongly  marked.  The 


PAINTING. 


103 


continental  artist  exhibits  in  his  works  a  striking  uniformity  of 
style.  He  studies  to  detail,  but  fails  in  general  effect.  Hia 
labors  consist  of  dry,  meagre,  disjointed  particulars,  better 
drawn,  and  more  carefully  finished  than  the  works  of  the  Brit- 
ish artist,  but  failing  in  the  bold  and  powerful  effect  of  the 
English  style. 

The  English  artist  paints  more  to  the  mind;  the  French  and 
Italian  to  the  eye.  The  former,  endeavors  to  represent  the 
universal  harmony  of  nature.  The  second  scrutinizes  her 
separate  parts,  and  carefully  represents  the  causes  of  her  gen- 
eral effects. 

The  great  defect  in  the  practice  of  English  art  is  imperfec- 
tion in  the  details.  In  portraiture  especially,  this  is  observa- 
ble, and  on  this  account,  British  female  portraits  are,  gen- 
erally speaking,  decided  failures.  In  male  portraits,  the  sub- 
ject being  bolder,  this  defect  is  less  visible,  but  the  errors  are 
the  same.  Large  masses  of  dark  shade,  conceal  the  absence 
of  all  that  should  be  present,  and  the  effect  is  forcible,  rather 
than  natural. 

The  portraits  of  Sir  Henry  Raeburn,  the  representative  of 
painting  in  Scotland,  afford  the  most  wonderful  proof  how  far 
detail  mrfy  be  sacrificed,  and  general  effect  maintained. 

In  producing  strong  effect  without  regard  to  the  means, 
Raeburn  has  succeeded  beyond  the  generality  of  painters,  but 
in  blending  delicate  markings,  and  grand  contours  into  one 
harmonious  whole,  he  has  failed. 

If  pictures  are  to  be  viewed  on  the  walls  of  a  gallery,  and 
at  a  distance,  his  portraits  will  have  a  noble  effect;  but  if  we 
love  to  trace  the  shades  of  feeling,  and  the  lines  of  thought, 


104 


PAINTING. 


then  does  not  only  Raeburn,  but  the  great  majority  of  the  Eng- 
lish school,  rest  far  behind. 

In  the  United  States,  painting  seems  to  have  flourished  more 
successfully,  than  any  other  branch  of  the  fine  arts.  Copley 
and  West  belong  rather  to  the  history  of  English  art.  Gilbert 
Stuart,  was  born  in  Newport,  Rhode  Island,  in  1755.  Soon 
after  coming  of  age,  he  went  to  England,  and  became  the  pu- 
pil of  Mr.  West.  He  soon  rose  to  eminence  as  a  portrait 
painter,  and  obtained  a  high  reputation  both  in  England  and 
Ireland.  In  1794,  he  returned  to  his  native  country,  chiefly 
residing  in  Philadelphia  and  Washington,  in  the  practice  of 
his  profession,  till  about  the  year  1801,  when  he  removed  to 
Boston.  Here  he  remained  till  his  death,  in  1828.  Mr.  Stuart 
was  not  only  one  of  the  first  painters  of  his  time,  but  was  also 
an  extraordinary  man,  out  of  his  profession. 

The  names  of  Copley,  West,  and  Stuart,  among  the  dead, 
and  of  Allston,  Leslie,  Newton,  among  the  living,  will  be  re- 
membered as  those  of  the  first  Americans  distinguished  in  the 
higher  orders  of  their  profession.  To  these  we  may  add, 
Trumbull,  Sully,  Doughty,  Morse,  Peale,  Harding,  Fisher, 
and  many  others,  who  have  not  yet  won  a  foreign  reputation, 
but  for  whom  the  land  of  their  birth  is  the  land  of  th^r  fame. 


5PAINTING. 


105 


CHAPTER  XVI. 

iEnumeration  of  the  different  classes  of  Painting. — Some  knowledge  of  the 
rules  of  Painting  necessary,  in  order  to  understand  the  beauties  or  faults 
of  a  picture. — In  what  the  excellence  of  a  painting  may  consist. — Of 
Perspective. — Of  Invention. — Raphael's  excellence  in  that  branch  of 
painting. — His  *  St.  Paulas  Lystra.' — The  'Fallen  Angels'  of  Rubens. 
— Further  remarks  upon  Invention. — Science  allowed  to  painters. — Error 
of  Bernini. — Of  Disposition. — Raphael's  skill  in  Disposition. — Le  Brun's 
'Tent  of  Darius.'— Imtoret's  *  Paradise.' — Remarks  upon  *The  Marriage 
of  Cana.' 

As  all  objects  in  nature  may  be  imitated  by  the  pencil,  the 
masters  of  this  art  have  applied  themselves  to  different  sub- 
jects, each  one  as  his  talents,  his  taste,  or  his  opportunities 
«iay  have  led  him.  From  this  have  arisen  the  following 
classes. 

1st.  History-painting;  which  represents  the  principal  ob- 
jects in  history,  sacred  or  profane,  real  or  fabulous.  This  may 
be  considered  the  highest  style  of  painting;  Raphael,  Guido, 
Rubens,  &c.  excelled  in  historical  representation. 

2d.  Rural  History;  this  is  a  pleasing  and  graceful  style  of 
painting  ;  though  inferior  to  the  former.  It  represents  see  les 
connected  with  a  country  life — the  manners  and  occupat/ons 
of  the  inhabitants  of  villages  and  hamlets.  Teniers,  and 
Breughel  excelled  in  it. 

3d.  Portrait-painting,  an  admirable  branch  of  the  art,  and 
one  which  has  engaged  the  attention  of  the  greatest  masters  of 
all  ages,  such  as  Apelles,  Guido,  Vandyke,  Rembrandt, 
Kneller. 

4th.  Grotesque  histories.    These  may  represent  nocturnal 
8 


106 


meetings  of  witches;  the  tricks  of  mountebanks,  &c.  Tehier^ 
and  Breughel  showed  much  talent  for  this  sort  of  painting. 

5th.  Battle-pieces,  in  which  Wouvermans  has  acquired 
much  celebrity. 

6th.  Landscape-painting,  which  includes  every  object  that 
the  country  presents;  and  may  be  divided  into  two  classes, 
the  heroic,  and  the  pastoral,  or  rural. 

In  the  heroic  style,  art  and  nature  are  blended  together. 
The  buildings  introduced  in  the  landscape  are  temples,  pyra- 
mids, altars,  or  ancient  places  of  burial.  Into  these  compo-^ 
sitions,  figures  are  introduced  suitable  to  the  scenery;  some 
ancient  story,  or  fabulous  legend.  Thus  Poussin,  who  excel- 
led in  the  heroic  style,  represents  Apollo  driving  his  chariot 
out  of  the  sea,  to  intimate  the  rising  of  the  sun ;  or  a  nymph 
with  an  urn  on  her  head,  as  the  genius  of  a  river. 

This  style  is  an  agreeable  illusion,  when  handled  by  an  artist 
of  a  discriminating  genius.  But  if  the  painter  has  not  talent 
enough  to  throw  a  sublime  and  antique  air  over  the  whole,  he 
is  often  in  danger  of  becoming  ridiculous. 

7th.  The  rural  or  pastoral  style  represents  nature  in  all  her  infi- 
nite variety.  The  figures  should  harmonize  with  the  scenery; 
whether  it  be  wild  and  mountainous,  or  soft  and  verdant. 

8th.  Sea-pieces,  in  which  are  represented  the  ocean,  rivers, 
tod  harbors ;  and  the  vessels,  boats  and  barges  with  which 
they  are  covered ;  sometimes  in  a  calm,  sometimes  with  a 
fresh  breeze,  and  at  other  timea  in  a  storm.  The  two  Van- 
derveldes,  and  many  others,  have  acquired  great  reputation  in 
the  class. 

9th.  Night-pieces,  where  the  objects  are  illumined  either 


J»AlNTmG. 


107 


by  the  rays  of  the  moon,  or  the  light  of  a  candle  or  torch,  or 
by  the  flames  of  a  conflagration. 

lOlh.  Fruit  and  flower-painting,  a  pleasing  branch  of  the 
art,  which  has  been  frequently  carried  to  such  perfection,  as 
to  rival  nature  herself  There  are  also  pieces  which  represent 
living  animals,  and  birds  of  all  kinds,  in  which  Vandervelde 
was  very  successful;  culinary  pieces,  representing  all  kinds 
of  provisions,  dead  animals,  &c.  an  inferior  style, — pieces  of 
architecture,  in  which  the  Italians  excel  greatly — such  as 
sea-ports,  streets  and  public  places,  pieces  representing  in- 
struments of  music,  or  furniture,  a  very  trifling  branch 
of  the  art;  imitations  of  bas-reliefs;  and  hunting-pieces 
which  require  a  peculiar  talent,  as  they  unite  the  paint- 
ing of  men,  horses,  dogs,  and  games,  to  that  of  landscapes. 

Of  these  different  classes,  history-painting,  landscape  and 
portrait  are  the  three  highest  branches. 

To  understand  the  beauties,  and  appreciate  the  merits  of 
ihese  different  kinds  of  painting,  it  is  necessary  to  have  some 
knowledge  of  the  rules  of  the  art.  An  untutored  savage  may 
be  struck  with  admiration  at  the  sight  of  Raphael's  Fornarina, 
or  Michael  Angelo's  Last  Judgment.  A  child  may  be  amus- 
ed by  the  contortions  or  false  attitudes  of  an  unskilful  perform- 
ance. But  neither  of  them  will  be  able  to  give  any  just  idea 
of  the  causes  in  which  consist  either  the  beauty  of  the  one,  or 
the  deformity  of  the  other. 

The  excellence  of  a  painting  may  arise  f  om  a  variety  of 
circumstances— from  the  correctness  of  thf  perspective,  the, 
happy  disposition  of  the  figures,  the  beauty  of  the  design,  the 
richness  of  the  coloring,  or  the  arrangemeot  of  the  draperies. 


108 


PAINTING. 


Perspective  is  called  by  Da  Vinci  the  reins  and  rudder  of 
painting.  It  teaches  us  how  to  represent  objects  as  they  ap- 
pear in  nature,  at  different  heights  or  different  distances.  It 
shows  in  what  proportion  the  parts  fly  from,  and  lessen  upon, 
the  eye ;  how  figures  are  to  to  be  arranged  upon  a  plain  sur- 
face, and  fore-shortened.  A  strict  observance  of  the  laws  of 
perspective  is  so  necessary,  that  a  single  deviation  from  them 
has  frequently  entirely  spoilt  the  finest  of  Guide's  paintings. 

Whenever  we  hear  a  story  related,  we  form  a  picture  in  our 
own  mind  of  the  action  and  expression  of  the  persons  employ- 
ed. The  power  of  representing  this  mental  picture  on  canvass 
is  what  is  called  Invention  in  a  painter.  Poetry  and  painting 
have  been  justly  called  sister  arts;  but  they  have  one  remark- 
able difference  between  them. 

The  poet  in  representing  his  story,  relates  what  has  already 
happened,  prepares  that  which  is  still  to  come,  and  so  proceeds, 
step  by  step,  through  all  the  circumstances  of  the  action.  But 
the  painter  cannot  avail  himself  of  the  succession  of  time  and 
place.  He  depends  upon  one  single  moment.  The  fortunate 
choice  of  this  moment  shows  the  painter's  skill  in  invention. 

For  example,  in  Raphael's  famous  painting  of  St.  Paul  at 
Xystra,  he  has  seized  a  moment  of  the  utmost  interest,  by  which 
he  has  been  enabled  to  bring  as  many  circumstances  before 
the  eyes  of  the  spectator,  as  could  have  been  accomplished  by 
the  most  elaborate  poetical  description. 

The  cripple  stands  in  front  of  the  piece.  He  is  just  restor- 
ed to  the  use  of  his  limbs  by  the  Apostle.  His  eyes  are  yet 
beaming  with  gratitude;  while  he  excites  the  surrounding  mul- 
titude to  participate  in  his  joy,  and  to  join  him  in  doing  rever- 
ence to  his  benefactor. 


PAINTING. 


Around  the  cripple,  are  various  figures,  examining,  his  limbs 
restored  to  their  proper  shape,  and  attesting  by  their  gestures, 
full  of  astonishment,  the  reality  of  the  miracle. 

A  picture  of  the  Fallen  Angels,  by  Rubens,  which  is  in  the 
Dusseldorf  Gallery,  is  wonderful  for  the  brilliancy  of  the  in- 
vention displayed  in  it.  The  Fallen  Angels  are  tumbling  one 
over  the  other,  '  with  hideous  ruin  and  combustion,  down  to 
bottomless  perdition.'  In  their  attitudes,  the  painter  has  giv- 
en loose  to  the  most  capricious  imagination,  yet  without  devi- 
ating from  the  utmost  correctness  of  drawing  and  propriety  of 
taste.  This  painting  is  pronounced,  by  Sir  Joshua  Reynolds, 
to  be  one  of  the  greatest  efforts  of  genius  that  the  art  has  ever 
produced. 

As  the  great  end  of  painting  is  to  strike  the  imagination,  so 
it  is  the  general  idea  which  a  painting  gives  us  that  constitutes 
its  real  excellence.  The  figures  must  have  a  ground  whereon 
to  stand;  they  must  be  clothed.  There  must  be  a  back-ground ; 
there  must  be  light  and  shadow;  but  none  of  these  ought  to  ap- 
pear to  have  taken  up  the  attention  of  the  artist. 

The  principal  grace  and  effect  of  a  picture  depends  upon  the 
skill  with  which  the  artist  adjusts  the  back-ground,  the  drape- 
ry, and  the  masses  of  light;  yet  this  art  must  be  so  much  con- 
cealed, that  even  a  judicious  eye  shall  not  at  first  view  per- 
ceive the  marks  of  his  subordinate  assiduity. 

In  Invention,  an  artist  must  frequently  deviate  from  vulgar 
and  strict  historical  truth,  in  order  to  pursue  the  grandeur  of 
his  design.  Thus  in  the  Cartoons  of  Raphael,  he  bestows  up- 
on the  Apostles,  as  much  dignity  as  the  human  form  is  capable 
of  receiving;  yet  we  are  expressly  told  in  Scripture  that  such 


110 


PAINTING. 


was  not  their  appearance;  and  of  St.  Paul  in  particular  that 
his  bodily  presence  was  mean.  Alexander  the  Great  was  of 
low  stature;  Agesilaus  was  little  and  lame.  These  defects 
ought  not  to  appear  in  paintings  of  which  they  are  the  heroes. 
There  is  license  permitted  in  this  style  of  painting,  as  in  po- 
etry. 

Bernini,  an  excellent  sculptor,  has  fallen  into  error  in  this 
respect,  which  spoils  one  of  his  best  works.  In  representing 
David  throwing  the  stone  at  Goliah,  in  order  to  give  him  an  ex- 
pression of  energy,  he  has  made  him  biting  his  under-lip;  thus 
taking  away  all  appearance  of  dignity  from  his  hero,  and  giv" 
ing  him  a  natural  but  a  vulgar  expression. 

Disposition  may  be  considered  as  a  branch  of  invention,  and 
consists  in  placing  the  objects  which  the  mind  has  imagined  in 
suitable  and  natural  situations.  A  painter  therefore  ought 
•  equally  to  avoid  the  dry  style  of  the  ancients,  who  marshalled 
their  figures  side  by  side,  like  so  many  couples  in  a  proces- 
sion, and  the  tumultuous  grouping  of  the  moderns,  when  the 
figures  are  frequently  jumbled  together,  as  if  the^  had  met  to 
fight. 

In  this  branch,  Raphael  chose  the  happy  medium  which  is 
difilicult  of  attainment.  The  principal  figure  in  a  picture 
should  be  distinguishable  from  the  rest  at  the  first  glance  of 
the  eye.  This  may  be  accomplished  by  the  painter  in  differ- 
ent ways;  either  by  the  conspicuous  situation  of  the  principal 
figure;  or  by  the  attention  of  the  inferior  figures  being  direct- 
ed towards  it. 

It  is  not  necessary  that  the  principal  light  should  fall  on  the 
principal  figure,  or  that  it  should  be  placed  in  the  niiddle  of 


PAINTING 


111 


the  picture.  Thus  in  Le  Brun's  admirable  painting  of  The 
Tent  of  Darius,  although  Alexander  does  not  stand  in  the 
middle  of  the  picture,  he  is  immediately  distinguished  from  the 
res^,  because  the  eyes  of  all  the  other  figures  are  directed 
towards  him. 

On  the  other  hand,  Tintoret,  in  his  famous  painting  of 
Paradise,  which  covers  one  side  of  the  council-chamber  at 
Venice,  has  disposed  his  figures  so  badly,  that  the  eye,  having 
nothing  on  which  to  repose,  is  fatigued  by  the  confused  heap 
of  figures  which  seem  to  swarm  without  order  or  method. 

In  the  great  composition  of  Paul  Veronese,  the  Marriage  ^ 
at  Cana,  there  are  nearly  a  hundred  figures  as  large  as  life; 
yet  the  eye  is  neither  distracted  nor  confused.    The  objects, 
whether  consisting  of  lights,  shadows,  or  figures,  are  disposed 
in  large  masses,  and  groups  properly  varied  and  contrasted. 

By  the  help  of  perspective,  the  groups  are  parted  at  proper 
distances.  The  light  is  supported  by  sufficient  shadow;  a 
certain  proportion  of  ground  is  allotted  to  a  certain  quantity 
of  action;  and  the  whole  is  conducted  with  as  much  appar- 
ent facility  as  if  it  were  a  small  picture  immediately  under  the 
eye. 


112 


PAINTINe. 


CHAPTER  XVII. 

Of  Symmetry  or  Design. — Models  of  study  for  design. — Remark  of 
Michael  Anorclo.— Of  Drapery. — Best  masters  in  that  branch  of  the  art. — 
Rules  for  draping  a  figure  correctly. — Of  Coloring.— The  general  effect 
which  coloring  produces. — Two  modes  of  coloring. — Different  manners  of 
the  Italian  painters  in  coloring. — Of  the  Venetian  artists. — Of  Titian  as 
separated  from  the  others. — Coloring  of  the  Dutch  painters. — Remark  of 
Sir  Joshua  Reynolds. — Knowledge  necessary  for  producing  the  desired 
effect  in  coloring. — Chief  masters  in  that  branch. — Rubens'  painting 
of  the  Assumption. — Rubens'  ^  Crucifixion. ' — Gradual  progress  of  an 
artist  in  comprehending  the  manner  of  producing  natural  effects  by 
colors. — Of  the  Expression  of  the  Passions. — Of  the  chief  masters  in  that 
branch  of  the  art. — Remarks  on  Raphael's  Cartoon  of  St.  Paul  preach- 
ing.— Errors  of  the  Venetian  painters  in  regard  to  Expression. — Of  Paul 
Veronese. — Remarks  on  Raphael's  'School  of  Athens.' — Of  Costume. 
*  Tragic  Muse'  of  Sir  Joshua  Reynolds. — Enumeration  of  the  different 
methods  of  painting  now  in  practice. 

In  Symmetry,  which  is  a  necessary  study  for  all  painters, 
the  Greek  sculptors  distinguished  themselves,  and  have  never 
been  surpassed  by  any  modern  artist.  From  the  Apollo  Bel- 
videre,  the  Venus  de  Medicis  and  the  Antinous  more  know- 
ledge of  symmetry  and  proportion  may  be  derived,  than  from 
volumes  written  on  the  subject.  A  picture  which  is  ill  de- 
signed, that  is,  in  which  the  rules  of  symmetry  are  not  observ- 
ed, can  never  be  highly  esteemed  by  a  good  judge,  however 
splendid  the  coloring.  Thus  Michael  Angelo  on  viewing  one 
of  the  finest  performances  of  the  Venetian  school,  exclaimed, 
*  What  a  pity  it  is,  that  this  man  did  not  set  out  by  studying 
design ! ' 

Figures  are  generally  clothed  in  drapery.  The  flowing  of 
the  folds  ought  not  to  conceal  the  elegance  of  the  figure  in 
a  painting.    Some  artists  are  apt  to  manage  the  drapery  so  ill. 


PAINTING. 


113 


that  the  garments  appear  like  heaps  of  clothing,  winded  up 
and  gathered  together. 

The  best  masters  in  this  branch  are  Paul  Veronese, 
Andrea  del  Sarto,  Rubens,  and  above  all,  Guido  Reni.  The 
flow  of  their  drapery  is  soft  and  gentle;  their  gold,  silk,  and 
woollen  stuffs  are  distinguishable  from  each  other  by  the 
quality  of  their  several  lustres,  by  the  peculiar  light  and  shade 
belonging  to  each;  but  above  all,  by  the  form  and  flow  of  their 
folds. 

To  drape  a  figure  well,  it  is  necessary  that  the  folds  be 
large,  and  few  in  number;  because  large  folds  produce  great 
masses  of  light  and  shadow.  But  should  the  kind  of  stuff 
require  small  folds,  they  should  be  so  arranged  that  a  great 
number  of  them  shall  produce  the  effect  of  one  large  fold. 

The  movement  of  the  body  causes  the  formation  of  the  fold* 
of  the  drapery.  Therefore^  drapery  contributes  to  the  life, 
character  and  expression  of  the  figures,  announcing  their 
more  lively  or  tranquil  movement.  Raphael  attained  the  high- 
est perfection  in  this  branch  of  the  art. 

With  respect  to  coloring,  though  it  certainly  may  be  con- 
sidered a  more  mechanical  part  of  painting,  it  also  has  its 
rules.  In  order  to  give  to  a  painting  a  general  air^of  gran- 
deur, which  should  strike  at  the  first  view,  a  quietness  and 
simplicity  should  reign  over  the  whole  work.  To  this,  a 
breadth  of  uniform  and  simple  color,  will  very  much  con- 
tribute. 

Grandeur  of  effect  is  produced  in  two  different  ways.  The 
one  is  by  reducing  the  colors  to  little  more  than  chiaro-scuro. 


114 


PAINTING. 


This  was  frequently  the  practice  of  the  Bolognese  schools: 
the  other  is,  by  making  the  colors  very  distinct  and  forcible, 
as  in  the  Roman  and  Florentine  schools.  The  latter  are  more 
g.  and  than  harmonious;  *  as  martial  music,  which  is  intended 
to  rouse  the  nobler  passions,  has  its  effect  from  the  sudden 
and  strongly  marked  transitions  from  one  note  to  another, 
which  that  style  of  music  requires,  whilst  in  that  which  is  in- 
tended to  move  the  feelings,  the  notes  imperceptibly  melt  into 
one  another.' 

The  coloring  of  the  Venetian  painters,  however  splendid, 
was  too  brilliant  and  even  too  harmonious  for  the  solidity  and 
simplicity  of  an  heroic  subject.  Their  object  was  to  dazzle, 
and  in  this  they  perfectly  succeeded;  but  the  opinion  of 
Michael  Angelo  himself  was  that '  they  were  too  much  engross- 
ed by  the  study  of  colors,  and  neglected  the  ideal  beauty  of 
form.' 

In  censuring  the  Venetian  painters,  however,  most  great 
judges  make  an  exception  in  favor  of  Titian,  whose  portraits 
have  a  nobleness  and  dignity  about  them,  which  is  not  to  be 
met  with  in  the  other  masters  of  the  same  school. 

The  Dutch  painters  are  remarkable  for  their  skill  in  color- 
ing. 

Sir  Joshua  Reynolds  compares  the  pictures  of  Rubens  to  a 
nosegay  of  flowers,  where  all  the  colors  are  bright,  clear,  and 
transparent. 

Two  points  are  necessary  in  coloring;  exactness  of  tints^ 
and  the  art  of  setting  them  off.  The  first  is  acquired  by  prac- 
tice. A  tint  which,  near,  appears  disjoined  and  of  one  color, 
has  probably  a  different  eflfect  when  viewed  at  a  distance.  Id 


PAINTING.  115 

order  to  show  off  these  tints,  it  is  necessary  to  know  what 
effect  one  color  will  produce  when  contrasted  with  another. 

Titian,  Rubens,  Vandyke,  and  Rembrandt  excelled  in  their 
perfect  knowledge  of  all  the  varied  and  natural  effects  of  col- 
oring. 

In  Rubens'  fine  painting  of  the  Assumption,  he  has  failed  in 
the  coloring  of  the  Virgin,  the  principal  figure  in  the  picture. 
Instead  of  representing  her  in  the  usual  drapery  of  blue  and 
red,  she  is  dressed  in  a  color  b.etween  blue  and  gray,  heightened 
with  white.  The  white  glory  round  her  head,  united  with  this, 
gives  a  complete  deadness  to  that  part  of  the  picture.  Again, 
in  Rubens'  celebrated  Crucifixion,  the  coloring  is  managed 
with  wonderful  skill.  The  strongest  light  falls  on  the  body  of 
Christ — of  which  the  coloring  is  remarkably  clear  and  bright. 
The  brown  complexion  of  the  thieves,  who  stand  near  the 
cross,  is  in  strong  opposition  to  this  figure,  and  produces  an 
excellent  effect.  The  outer  drapery  of  the  Virgin  is  dark  blue; 
the  inner  a  dark  purple.  The  St.  John  is  in  dark  strong  red. 
The  head  and  hands  of  the  Virgin  have  the  light  thrown  upon 
them. 

In  the  first  rude  attempt  of  an  artist  to  imitate  nature,  he 
would  make  the  whole  mass  of  one  color.  This  was  done  by 
the  oldest  painters.  In  a  short  time,  he  would  observe  that 
there  are  a  variety  of  tints,  not  only  in  the  object  itself,  but  in 
the  changes  produced  by  the  gradual  decline  of  light  and 
shadow.  To  imitate, these,  he  would  immediately  introduce  a 
variety  of  distinct  colors. 

But  again  experience  must  convince  him  that  in  doing  this, 
he  has  not  yet  learnt  the  most  important  point.    He  must 


116 


PAINTING. 


next  find  out  that  variety  of  color  is  not  sufficient,  and  that 
however  varied  his  tints,  the  whole  must  be  blended  together 
with  a  union  and  simplicity  such  as  shall  produce  the  general 
effect  of  nature.  When  he  understands  this,  and  can  put  it  in 
practice,  he  will  become  a  good  colorist. 

Without  expression,  the  finest  works  must  appear  lifeless 
and  inanimate.  A  painter  may  be  able  to  delineate  the  most 
exquisite  forms — to  compose  them  well  together — to  drape 
them  with  grace  and  propriety — to  throw  over  all,  the  magic 
of  the  most  brilliant  coloring.  This  is  not  sufficient.  He 
must  also  know  how  to  clothe  his  figures  with  grief,  with  joy, 
with  fear,  with  anger. 

He  must  write  on  their  faces  what  they  think  and  feel.  He 
must  give  them  life  and  speech.  In  this  consists  the  chief 
power  of  painting.  Here  it  was  that  Domenichino  and  Pous- 
sin  showed  the  wonders  of  the  art,  as  in  the  St.  Jerome  of  the 
one,  and  the  Death  of  Germanicus  of  the  other  ;^and  here  it 
was  that  Raphael  rose  superior  to  then!  all. 

In  his  Cartoon  of  St.  Paul  preaching,  Sergius  Paulus  is 
represented  with  his  eyes  shut.  In  the  work  of  an  ordinary 
painter,  we  might  have  mistaken  this  attitude  for  sleeping. 
But  in  the  work  of  Raphael,  the  eyes  are  closed  with  such  ve- 
hemence, that  it  is  easy  to  see  that  the  whole  soul  is  awake — 
the  mind  agitated — the  thoughts  perplexed  in  the  extreme. 

The  Venetians,  who  placed  their  glory  in  coloring  and  imi- 
tating the  rich  dress  of  the  various  personages  who  were  con- 
stantly crowding  the  commercial  streets,  failed  in  the  expres- 
sion of  the  passions.  They  aimed  at  charming  the  senses. 
They  failed  in  captivating  the  understanding.    For  instance 


PAINTING. 


117 


in  the  famous  Marriage  Feast  at  Cana,  by  Paul  Veronese, 
there  is  a  total  want  of  suitable  expression  in  the  various  fig- 
ures. 

The  water  has  just  been  converted  into  wine.  A  woman, 
dressed  in  red,  points  out  her  gown  to  the  bridegroom,  perhaps 
meaning  that  the  miraculous  wine  is  the  same  color.  But  in 
the  mean  time,  not  one  of  the  company,  either  by  gesture  or  ex- 
pression, betrays  the  least  sign  of  wonder  or  concern  at  so  ex- 
traordinary a  miracle.  They  continue  to  eat,  and  drink,  and 
make  merry. 

In  Raphael's  School  of  Athens  in  the  Vatican,  among  other 
parts  of  the  work  are  four  boys  attending  on  a  mathematician, 
who,  stooping  to  the  ground  with  his  compasses  in  his  hand,  is 
giving  them  the  demonstration  of  a  theorem. 

One  of  the  boys,  thinking  within  himself,  keeps  back,  with 
all  the  appearance  of  profound  attention  to  the  reasoning  of  his 
master.  He  is  collecting  his  thoughts,  and  endeavoring  to  fol- 
fow  the  argument.  Another,  by  his  lively  and  speaking  atti- 
tude, shows  that  his  apprehension  is  quicker.  A  third  has  al- 
ready seized  the  conclusion,  and  is  endeavoring  to  beat  it  into 
the  fourth,  who  stands  motionless,  with  op€n  arms,  a  staring 
countenance,  and  an  unspeakable  air  of  stupidity,  which  render 
it  probable  that  he  will  never  be  able  to  make  anything  of  it. 

Wilh  regard  to  costume,  a  painter  should  endeavor  to  choose 
the  road  between  two  extremes.  He  should  neither  despise 
beauty  on  the  one  hand,  nor  probability  on  the  other.  Sir 

Joshua  Reynolds  recommends  that  a  certain  antique  air  should 
be  preserved,  even  in  the  dress  ot  a  modern  lady;  because  the 

idea  of  ancient  simplicity  coriesponds  with  our  ideas  of  digni- 


118 


l»AtN1:'lNG. 


ty,  which  the  familiarity  of  a  modern  dress  does  by  tto  meatus 
convey. 

Yet,  if  a  painter  mixes  the  antique  with  the  modern,  he  will 
destroy  the  illusion  of  the  scene.  Sir  Joshua  Reynolds  him- 
self has  fallen  into  an  error  in  this  particular.  He  has  repre- 
sented Mrs.  Siddons  as  the  Tragic  Muse,  sitting  in  an  arm* 
chair,  which  is  supported  by  clouds — Tragedy  and  Comedy 
hover  over  her.    Mrs.  Siddons  wears  a  modern  dress. 

The  incongruity  of  this  is  evident.  If  this  is  a  picture  of 
the  Tragic  Muse,  she  should  not  wear  a  modern  dress.  If  it 
is  a  portrait  of  Mrs.  Siddons,  she  should  not  be  supported  by 
the  clouds* 

One  rule  may  be  laid  down,  however,  with  regard  to  costume 
in  painting.  The  more  simple  the  drapery,  the  less  caprici- 
ous in  form,  whimsical  and  complicated,  the  more  noble  will 
the  figure  appear. 

The  different  methods  of  painting  now  in  practice  are, 

1.  Painting  in  Oil;  which  is  preferable  to  all  other  methods, 
as  it  is  more  susceptible  of  all  sorts  of  expressions,  of  more  pet- 
feet  gradations  of  colors,  and  is  at  the  same  time  more  durable. 

2.  Painting  in  Fresco;  which  is  by  drawing  with  colors  dilu- 
ted with  water,  on  a  wall  newly  plastered,  and  with  which  they 
so  incorporate,  that  they  perish  only  with  the  stucco  itself* 
This  is  principally  used  on  ceilings. 

3.  Painting  with  Water-colors;  that  is,  with  colors  mixed 
with  water  and  gum,  or  paste,  &c. 

4.  Mosaic  Painting.  It  is  composed  of  a  great  number  of 
small  pieces  of  marble  of  different  colors,  joined  together  with 
stucco.    The  works  of  this  kind  are  made  principally  at  Rome^ 


PAINTING. 


119 


where  this  art  has  been  carried  so  far  as  to  resemble  the  paint" 
ings  of  the  greatest  masters. 

5.  Miniature  Painting,  which  differs  from  the  preceding,  aa 
it  represents  objects  in  the  least  discernable  magnitudes. 

6.  Painting  in  Crayons;  for  which  purpose,  colors  either 
simple  or  compound  are  mixed  with  gum,  and  made  into  a  kind 
of  hard  paste  like  chalk,  with  which  they  draw  on  paper  or 
parchment. 

7.  Painting  on  Enamel ;  which  is  done  on  copper  or  gold, 
with  mineral  colors  that  are  dried  by  fire,  and  become  very 
durable.  The  paintings  on  the  porcelain  of  China  or  Europe  ; 
on  Delphic  ware,  &c.  are  so  many  sorts  of  enamel. 

8.  Painting  on  Glass;  such  as  the  windows  of  churches,  &c« 


SCULPTURE. 


9 


i 


SCULPTURE. 


CHAPTER  I. 

Definition  of  Sculpture. — Its  antiquity. — Of  Egyptian  sculpture. — Divided 
into  tlireo  eras. — Different  classes  of  Kiryptian  sculpture. —  Of  the  moat 
celebrated  colossal  statues. — Causes  of  the  slow  pro<rress  of  sculpture  in 
Eirypt. — Of  the  posture,  attitude,  &n.  of  the  colossal  firrures. — Groups  of 
the  natural  size. — Basso-relievos  and  hierofrlyphics. —  Second  era  of  sculp- 
ture in  Kgypt. — Statues  belon^in<r  to  that  era. — Third  era  of  EiTyptian 
sculpture. — Labor  of  the  Kjryptian  artisls. — (ieneral  character  of  their 
works. — Of  the  other  Kastern  nations. — Style  of  the  Hindoo  sculpture. — 
Of  the  Chinese  and  Persian  sculpture. —  I'alacc  of  Persepolis. — Remarks 
upon  Eastern  sculpture. 

Sculpture  is  the  art  of  carving  wood,  or  hewing  stone,  mar- 
ble, &c.  into  images.  It  is  in  all  probability,  the  most  ancient 
of  the  imitative  arts.  To  represent  an  external  form  by  its 
actual  proportion  or  magnitude,  seems  indeed  the  plainest  and 
simptest  mode  of  imitation.  Regarding  its  origin,  many  theo- 
ries have  been  proposed,  and  much  written  by  various  ingeni- 
ous authors,  each  asserting  the  praise  of  invention,  for  some 
favorite  people. 

The  antiquity  of  sculpture  may  be  proved  by  reference  to 
the  Bible.    In  the  book  of  E.xodus  we  are  told  of  Laban's  ter- 
aphim,  or  images,  and  of  the  golden  calf  made  by  Aaron  and 
9* 


124 


SCULPTURE. 


the  Israelites,  which  they  worshipped  during  the  absence  of 
Moses  on  the  Mount.  We  are  also  told  of  the  statues  of  the 
cherubim,  which  extended  their  wings  over  the  ark  of  the  cov- 
enant. But  even  of  the  glories  of  Solomon's  Temple  nothing 
remains  but  description;  and  the  only  specimens  of  Jewish  art 
which  can  novv  be  produced,  are  the  piece  of  money  called  a 
shekel,  bearing  a  cup  on  one  side,  and  an  almond  branch  on 
the  other — the  candlestick  with  seven  branches,  and  the  table 
of  shew-bread,  on  a  bas-relief  under  the  arch  of  Titus. 

We  read  of  the  magnificent  golden  Jupiter  in  the  Temple 
of  Jupiter  Belus,  in  Babylon;  and  of  the  statue  of  Hercules, 
in  Tyre;  but  of  these  we  can  only  judge  by  a  comparison 
with  Egyptian  art,  concerning  which  we  have  copious  infor- 
mation and  abundant  examples.  Herodotus  tells  us  that  the 
Egyptians  erected  the  first  altars  and  temples  to  the  gods,  and 
first  carved  the  figures  of  animals  on  stone. 

The  history  of  Egyptian  sculpture,  therefore,  fiirst  claims 
our  attention;  since  its  authentic  monuments  carry  us  up  to  a 
very  early  date;  and  also  tend  to  unite  the  scattered  lights 
which  doubtful  tradition  throws  over  the  less  perfect  remains 
of  Asiatic  ingenuity.  Sculpture  in  Egypt  may  be  divided 
into  three  eras.  The  first  may  be  considered  as  the  era  of 
original,  or  native  sculpture;  the  second,  that  of  mixed,  or 
Greco-Egyptian  sculpture;  and  the  third,  the  era  of  imitative 
sculpture. 

The  first  descends  from  unknown  antiquity,  to  the  invasion 
of  Cambyses.  The  two  remaining  eras  extend  downwards 
through  the  successive  dominion  of  the  Greeks  and  Romans. 
That  almost  the  whole  of  the  Egyptian  sculpture  was  en-ploy- 


SCULPTURE. 


125 


ed  for  sacred  purposes,  we  have  not  only  the  testimony  of 
ancient  authors,  but  the  evidence  of  the  stupendous  works 
which  still  remain,  vestiges  of  ancient  grandeur  which  yet 
exist  on  their  native  site;  and  numerous  specimens  in  the 
various  cabinets  of  Europe. 

These  remains  may  be  classed  under  three  divisions; 
Colossal  statues,  groups  or  single  figures  about  the  natural 
size,  and  hieroglyphical  or  historical  relievos.  Four  kinds  of 
materials  were  employed  by  the  Egyptian  sculptors;  one  soft, 
a  species  of  sandstone;  the  second,  a  calcareous  rock  out  of 
which  the  tombs  with  their  sculptures  were  hewn;  the  third, 
basalt,  or  trap,  of  various  shades,  from  black  to  dark  grey,  of 
which  the  smaller  statues  were  usually  composed;  and  fourth- 
ly, granite  of  a  warm  reddish  hue,  with  large  crystals  of  feldspar, 
or  sometimes,  though  rarely,  of  a  dark  red  ground,  with  black 
specks;  as  in  the  magnificent  head,  supposed  to  bo  that  of 
Memnon,  in  the  British  Museum. 

The  Colossal  figures  were  always  made  of  granite.  Hero- 
dotus tells  us  of  two  of  these  stupendous  statues;  one  placed 
before  the  temple  of  Vulcan  at  Memphis,  the  other  in  the  city 
of  Sais,  by  King  Amasis,  each  of  which  was  seventy-five  fe^t 
long. 

Th^  Colossal  Sphynx,  near  the  great  Pyramid,  rises  twen- 
ty-five feet,  though  nearly  buried  up  to  the  throat  in  sand. 
There  is  a  clenched  hand  in  red  granite  in  the  British  Mu- 
seum, which  belonged  to  a  statue  sixty-five  feet  high. 

The  enormous  works  of  Egypt  have  struck  every  traveller 
who  has  visited  them  with  wonder  and  awe.  Compared  with 
these;  gigantic  productions,  the  works  of  modern  art  seem  the 


136 


SCKLPTUREv 


labors  of  pigmies  rather  than  of  men.  Twenty-two  colossal 
statues  are  still  to  be  seen  in  the  stupendous  palace  of  Car- 
nac,  in  Egyptian  Thebes,  The  front  of  this  palace  was  420 
feet  long,  and  its  depth  nearly  three  quarters  of  a  mile.  Its 
approach  was  by  four  paved  roads,  bordered  on  each  side  by 
figures  of  animals.  In  one  avenue,  ninety  lions,  in  another 
sphynxes,  in  another  rams,  and  in  the  fourth,  lions,  with 
hawks'  head^.  This  building  communicated  with  the  magnifi- 
cent tomb  of  Memnon,  before  which  stood  his  statue,  fifty- 
eight  feet  high. 

Of  these  mighty  labors,  some  are  hewn  from  the  living  rock^ 
and  left  adhering  to  the  natural  bed,  such  as  the  sphynx,  near 
the  pyramids  of  Ghizeh,  and  various  statues  on  the  rocks  of  the 
Thebaid,  which  look  like  the  shadows  of  mighty  giants.  Others 
again  were  built — first  reared,  with  square  blocks,  and  then 
hewn  into  shape.  But  the  greater  part  were  composed  of  one 
enormous  block,  raised  in  the  granite  quarries  of  Upper 
Egypt,  and  transported  to  their  destination  by  the  waters  of 
the  Nile. 

Two  circumstances  obstructed  the  progress  of  the  art  in 
Egypt.  In  the  first  place,  the  persons  of  the  Egyptians  were 
devoid  of  elegance  and  symmetry;  consequently,  they  had  not 
like  the  Greeks,  standards  of  proportion  by  which  to  model 
their  taste;  and  secondly,  they  were  restricted  by  the  tyranny 
of  their  laws,  to  the  principles  and  practice  of  their  forefathers. 
The  Egyptian  statues  stand  equally  poised  on  both  legs,  hav- 
ing one  foot  advanced,  and  the  arms  either  hanging  straight 
down  on  each  side,  or  if  one  arm  is  raised,  it  is  at  a  right 
angle  across  the  body. 


SCULPTURE. 


Some  of  the  statues  are  in  a  sitting  posture;  others  are 
kneeling,  but  the  position  of  the  hands  seldom  varies.  The 
attitudes  are  simple,  the  faces  rather  flat ;  the  brows,  eyelids, 
and  mouths,  formed  of  simple  curves,  slightly,  but  sharply 
marked,  and  with  little  expression.  The  draperies  are  in 
many  instances  without  folds.  When  the  dimensions  are 
beyond  nature,  the  head  is  always  large  out  of  proportion. 
This  probably  proceeded  from  a  mistaken  principle, — a  desire 
to  render  the  features  more  conspicuous  at  a  distance. 

The  eye  was  frequently  of  a  difl^erent  material  from  the  rest 
of  the  statue,  and  composed  of  some  precious  stone,  or  metal. 
The  valuable  diamond  of  the  late  Empress  of  Russia,  the 
largest  and  most  splendid  hitherto  known,  is  confidently 
asserted  to  have  formed  one  of  the  eyes  of  the  famous  statue 
of  Schenrgham,  in  the  temple  of  Brama. 

Although  in  these  statues  there  is  little  ease  or  grace,  yet 
they  are  invested  with  a  majestic  repose,  a  grand  and  solemn 
tranquillity,  which  strikes  the  beholder  with  awe  and  admira- 
tion. Occasionally  there  are  approaches  to  truth  and  nature, 
with  an  unaffected  and  placid  expression,  which  the  best 
judges,  both  ancient  and  modern  have  considered  highly 
worthy  of  praise. 

The  groups  of  figures  and  statues  of  the  natural  size  which 
adorn  the  tombs  of  the  Theban  Kings,  Elephantis,  El  Mar- 
look,  &Lc.,  are  the  productions  of  artists  of  very  diflerent  periods 
of  Egyptian  history.  Yet  with  regard  to  execution,  they  are 
all  nearly  on  an  equality.  Certain  prescriptive  rules  are  ob- 
served in  all,  and  every  one  seems  copied  from  a  fixed  model 
of  imitation.    Generally  speaking,  the  workmanship  is  inferior 


m 


SCULPTURE. 


tp  that  of  the  colossal  figures.  The  forms  of  the  female  face 
have  much  the  same  outline  and  unvaried  character  that  we  see 
In  some  of  the  early  Greek  statues. 

In  many  of  the  Egyptian  buildings,  the  whole  of  the  exterior 
is  covered  with  basso-relievos,  which  clearly  demonstrate 
their  total  want  of  anatomical,  mechanical,  and  geometrical 
science,  as  far  as  regards  either  painting  or  sculpture.  There 
are  indeed  relievos  consisting  of  a  few  figures,  sepulchral 
ones,  for  instance,  which  often  display  much  beauty  and  char- 
acter. But  in  their  historical  relievos,  which  covered  the 
walls  of  the  temples,  and  which  are  crowded  with  figures  in 
action,  with  processions,  battles,  sieges,  &c.,  all  is  feebleness 
and  confusion.  The  limbs  are  without  joints;  proportion  and 
perspective  seem  alike  disregarded.  The  king  or  the  hero  is 
represented  as  three  times  larger  than  all  the  other  figures. 
Thus  their  attempts  at  historical  representation  were  greatly 
inferior  to  their  single  statues. 

Great  praise  has  indeed  been  bestowed  by  competent 
judges  on  the  Egyptian  hieroglyphics;  but  this  must  be  under- 
stood as  referring  solely  to  the  workmanship.  These  labors, 
the  records  of  early  superstition  and  primitive  history,  were 
of  different  kinds.  The  first  in  use  were  called  anoglyphics. 
In  these  the  objects  were  represented  by  a  simple  outline, 
cut  to  the  depth  of  several  inches.  The  most  obvious  improve- 
ment was  to  round  the  angles,  and  relieve  the  figures  upon 
themselves.  The  third  was  to  elevate  the  contour,  by  reduc- 
ing the  surface  both  within  and  without.  The  fourth  was  to 
remove  the  ground  entirely,  leaving  the  figures  in  proper 
relief  This  is  the  true  relievo,  and  in  the  ancient  arts  of 
Egypt  was  unknown,  or  at  least  unpractised. 


SCULPTURE. 


129 


We  now  come  to  the  second  era  of  Fgyptain  sculpture. 
When  the  Ptolemies,  the  successorsof  Alexander  the  Great,  be- 
came kings  of  Egypt;  when  Grecian  animation  began  to  enliven 
their  mysterious  monuments,  and  Grecian  beauty  to  refine 
their  standard  of  proportions,  attitude,  character,  and  dress; 
then,  the  three  great  divinities,  Isis,  Osiris,  and  Oris,  were 
clothed  in  the  Macedonian  costume,  and  new  divinities  appear- 
ed amongst  them  in  Grecian  forms  The  term  mixed  art  has 
been  adopted  to  mark  the  successive  changes  which  the  influ- 
ence of  the  Grecian  and  Persian  conquests  produced  upon 
Egyptian  sculpture.  But  the  Persian  influence  was  of  a  neg- 
ative nature.  The  Persian  conquerors  prohibited  the  exercise 
of  sculpture — and  destroyed  the  ancient  monuments;  for  neith- 
er temples  nor  altars  were  permitted  in  their  religion. 

For  some  time  after  the  conquest  of  Egypt  by  Alexander, 
the  original  style  of  sculpture  was  retained  ;  and  though  im- 
provements were  introduced,  the  style  remained  essentially 
Egyptian.  The  majestic  ranges  of  temples,  palaces,  and  ci- 
ties which  bordered  the  Nile,  were  used  as  quarries  for  the 
building  of  Alexandria;  and  that  splendid  trophy  of  Grecian 
power  was  adorned  with  monuments  of  native  art. 

In  the  Capitol  at  Rome,  and  in  the  Villa  Albani,  are  three 
figures  which  are  supposed  by  Winckelmann  to  belong  to  the 
second  era;  freer  attitude  is  observable  in  these  ficrures  than  in 
the  productions  of  the  first  era.  The  form  has  greater  ele- 
gance and  the  arms  hang  more  freely. 

Tlie  Roman  dominion  tinally  introduced  greater  variety  in 
the  style  of  Egyptian  sculpture.  Copies  of  the  ancient  forma 
were  multiplied,  with  an  occasional  improvement  in  elegance. 


130 


SCULPTURE. 


But  it  was  not  till  the  reign  of  the  Emperor  Hadrian  that  the 
third,  or  imitative  era,  commenced. 

The  works  which  he  commanded  in  Egypt  were  modelled 
after  the  ancient  forms.  The  materials  were  brought  from 
Egyptian  quarries;  but  the  sculptors  were  Greeks  or  Italians, 
and  the  Grecian  character  of  design  is  visible  in  every  speci- 
men of  that  era  which  still  remains  to  us. 

The  general  conclusion  is,  that  there  is  but  one  period  of 
real  Egyptian  sculpture,  and  that  is  terminated  with  the  succes- 
sion of  the  Ptolemies. 

The  Egyptian  statues  were  polished  with  great  care.  Even 
those  on  the  summit  of  an  obelisk,  which  could  only  be  view- 
ed at  a  distance,  were  finished  with  as  much  labor  as  if  they 
had  admitted  a  close  inspection.  It  is  impossible  to  view 
these  works  without  admiring  the  indefatigable  patience  of  the 
artists. 

Of  the  methods  employed  to  work  the  unyielding  materials 
of  which  their  statues  were  composed,  it  is  difficult  to  give 
any  decided  opinion.  On  their  porphyry,  granite,  and  basalt, 
modern  tools  can  hardly  make  any  impression.  Yet  the  forms 
are  highly  finished,  and  the  angles  are  sharp  and  unbroken. 
It  would  appear  that  the  effect  has  been  produced  by  unwea- 
ried patience  and  labor,  rather  than  by  rapid,  or  dexterous 
management.  The  style  of  the  native  Egyptian  sculpture  is, 
simplicity  in  the  extreme,  and  a  magnitude  in  their  colossal 
works,  which  is  awful;  but  the  simplicity  is  so  excessive,  that 
one  face,  and  one  set  of  forms,  is  observable  in  all  their  works. 
Their  animals  are  superior  to  their  human  statues;  the  object 
of  their  art  was  to  deliver  symbolically  an  historical  fact,  a 


SCULPTURE. 


131 


precept  of  philosophy,  or  a  divine  mystery.  Life,  sentiment, 
or  spiritual  beauty  is  never  to  be  met  with  in  these  representa- 
tions. 

Yet  Egypt  may  be  considered  as  the  cradle  of  the  art,  from 
whence  the  first  principles  of  improvement  descended  to  the 
Western  world;  and  from  whence  the  Eastern  world  derived  its 
entire  knowledge.  Of  the  other  Eastern  nations,  the  myste- 
rious monuments  of  Hindu  sculpture,  alone  seem  to  equal  in 
antiquity  those  of  the  Egyptians.  The  stupendous  temples  of 
Ellora,  Elephantis,  and  other  parts  of  India,  are  adorned 
throughout  with  mythological  sculpture.  They  represent  al- 
legorical personages,  various  attributes  of  divine  power,  some- 
times in  single  statues,  and  sometimes  in  groups  of  figures. 

In  simplicity,  it  strongly  resembles  the  sculpture  of  Egypt 
It  has  also  the  same  sober,  massive,  and  unpretending  cliarac- 
ter.  But  in  science,  and  likeness  to  nature,  it  is  inferior;  as 
also  in  the  beauty  of  the  countenance,  and  in  the  proportion 
of  the  figure.  There  are,  however,  some  smaller  Hindu 
works  of  bronze  and  ivory,  remarkable  for  great  finish  and 
delicacy;  and  the  Hindu  religion  has  furnished  various  poet- 
ical and  extraordinary  compositions  which  are  more  elegant 
and  singular  than  any  thing  which  we  have  seen  in  the  pub- 
lished antiquities  of  Egypt. 

There  are  many  who  maintain  the  superior  antiquity  of  In- 
dian art  over  all  others:  this  opinion  appears  exceedingly 
doubtful.  Chinese  sculpture  has  also  been  supposed  to  re- 
semble the  Egyptian;  but  their  labors  are  much  more  trifiing 
and  covered  with  ornament  than  those  of  either  Egypt  or  In- 
dia.   Of  Peruvian  architecture  there  remains  but  one  statclj 


132 


SCULPTURE. 


ruin,  Petsepolis,  the  *  palace  of  a  thousand  columns;'  the 
residence  of  the  Persian  monarchs,  and  the  wonder  of  ancient 
Asia.  Forty  of  its  columns  still  exist,  ascended  by  mag- 
i^ificent  flights  of  steps,  and  approached  by  gateways  and 
fragments  of  walls,  covered  with  basso-relievos,  representing 
the  military  power,  pomp,  triumphs,  and  sacrifices  of  the  Per- 
sian monarchs.  These  relievos  have  some  resemblance  to 
the  style  of  the  Egyptian  basso-relievos  in  the  palace  of  Thebes; 
but  it  is  observable  that  all  the  Eastern  sculpture  which  still 
exists,  though  bearing  a  general  resemblance  to  that  of  Egypt, 
is  neither  simple  nor  uniform  in  design.  The  lines  are  broken 
into  compartments,  the  ornaments  are  complicated,  and  a  labor- 
ed taste  seems  to  have  arisen  upon  the  severe  and  simple  con- 
ceptions of  the  primitive  style. 


CHAPTER  II. 

Introduction  of  sculpture  into  Greece — Its  principal  seats — Contempora- 
ries of  Daedalus — Lite  and  works  of  that  artist — Remarks  upon  Etrurian 
sculpture—  Pupils  of  Daidalus — Characteristics  of  the  scuJpture  of  that 
period  in  Greece — Of  the  Ionian  and  Ciiian  schools — Chief  masters  of 
these  schools — Their  principal  works — Characteristics  of  the  art  as  it  in- 
creased in  progress — Of  Dipoeniis  and  Scyllus — Of  sculpture  in  Magna 
Grecia — Of  the  native  artists  in  these  colonies — Of  Anthemius  and 
Bupaius — Of  the  predecessors  of  Phidias — Their  chief  wprks — State  of 
the  art  at  that  period. 

AccoRDixG  to  ancient  history,  the  Greeks  did  not  emerge 
from  barbarism,  till  long  after  the  Egyptians,  Chaldeans,  and 
Indians  had  arrived  at  a  considerable  degree  of  civilization. 


SCULPTURE. 


133 


The  Pheniciaiis  and  Egyptians  introduced  amongst  them  the 
religion,  letters  and  arts  of  their  parent  countries.  If  the 
Greeks  derived  the  rudiments  of  the  art  from  foreign  nations, 
it  must  redound  much  to  their  honor  that  in  a  few  centuries 
they  carried  them  to  such  perfection,  as  entirely  to  echpse  the 
fame  of  their  masters. 

When  Cambyses  the  Persian  conquered  Egypt,  tlie  arts 
there  had  been  in  a  progressive  state  of  improvement  from  be- 
fore the  time  of  Moses — a  period  of  about  one  thousand  years. 
In  Greece  the  arts  rose  to  hi^h  perfection  in  nine  hundred 
years;  that  is,  from  their  rudest  beginnings  before  the  time  of 
Daedalus,  to  the  reign  of  Alexander  the  Great. 

We  are  told  that  twelve  gods  were  worshipped  in  Arcadia 
under  the  forms  of  rude  stones.  The  eyes  of  the  prmiitive 
statues  were  nearly  shut,  and  the  arms  attached  to  the  sides. 
Such  indeed  was  the  state  of  the  art  in  Greece,  about  twelve 
centuries  before  Christ. 

Sicyon,  Egina,  Corinth,  and  Athens  were  the  first  seats  of 
commerce  and  of  sculpture.  From  the  school  of  Sicyun  ma- 
ny of  the  most  celebrated  masters  have  issued.  Its  founda- 
tion is  attributed  to  Dibutades,  a  potter,  who  is  said  to  have  in- 
vented the  art  of  modelling.  Sicyon  has  been  styled  the 
'  Mother  of  the  Arts.'  The  earliest  sculptor  of  Egina  whom 
we  read  of,  was  Smilis.  His  statue  of  Juno  is  considered  by 
Pliny  to  be  the  most  ancient  image  of  that  goddess;  and  it  is 
said  that  his  works  were  distinguished  for  a  gravity  and  severe 
grandeur,  which  may  still  be  remarked  in  the  noble  marbles 
which  formerly  adorned  the  temple  of  Jupiter  in  that  island. 

About  1234  years  before  the  Christian  era,  a  sculptor  ap- 


134  SCULPTURE. 

peared,  whose  praise  was  sung  by  poets,  and  recorded  by  his^ 
torians;  and  whose  works  were  long  admired  and  preserved. 
This  was  Daedalus,  the  Athenian  contemporary  with  Theseus, 
king,  of  Athens;  scarcely  inferiorj.in  fame  and  adventures,  to 
that  renowned  hero. 

In  the  account  which  we  have  of  his  works,  fable  is  mingled 
with  reality.  Daedalus-  was  born  of  a  royal  race.  He  was 
the  friend  and  sometimes  the  adversary  of  kings.  In  his  life- 
time his  works  were  held  in  high  esteem,  and  after  his  death, 
a  chapel  was  erected  by  the  Egyptians  to  his  memory. 
Among  his  labors  were  the  fine  portico  which  adorns  the  tem- 
ple of  Vulcan  at  Memphis,  and  the  Cretan  Labyrinth^  which 
was  a  copy  of  a  hundredth  part  of  the  Egyptian  Labyrinth. 
His  wooden  Hercules  was  also  very  celebrated;  and  he  made 
a  figure  which  moved  like  life  by  means  of  quicksilver  contain- 
ed in  it.  Homer  in  his  Iliad,  mentions  the  chorus  of  Ariad- 
ine,  a  group  of  youths  and  damsels  dancing  hand  in  hand. 
This  was  sculptured  by  Daedalus  in  white  stone.  In  the  Brit- 
ish Museum  are  several  small  bronze  figures  of  Hercules,  gen- 
erally supposed  to  be  copies  of  the  wooden  statue  by  Daedalus; 
His  style  was  remarkable  for  a  rude  attempt  at  bold  action^ — 
traits  of  savage  nature  in  the  face  and  figure,  little  science, 
but  strong  feeling.  *  The  works  of  Daedalus,'  says  Pausanius, 
'  are  indeed  rude,  and  uncomely  in  aspect,  but  yet  they  have 
something  as  of  diviuity  in  their  appearance.' 

There  are  many  persons  who  suppose  that  sculpture  was 
introduced  by  Daedalus  into  Etruria  or  Tuscany,  before  the 
seige  of  Troy — -and  that  the  Etrurians  carried  the  art  to  per- 
fection at  an  earlier  period  than  the  Greeks.    The  style  of 


SCULI»TUR15. 


135 


4h6  Etruscan  artists  was  harsh  and  overcharged,  a  fault  from 
which  Michael  Angelo  himself  was  not  free. 

Among  the  monuments  of  Etrurian  art  which  still  exist,  two 
different  styles  have  been  observed.  In  the  first,  the  attitude 
is  too  stiff,  the  figure  too  slender,  and  the  formation  of  the 
head  devoid  of  beauty.  The  eyes  are  flat  and  looking  as- 
kance. These  are  the  defects  of  an  art  in  a  state  of  infancy, 
and  these  errors  may  be  seen  in  the  first  statues  of  the  Goths, 
as  well  as  in  those  of  the  Florentines. 

The  second  style  was  probably  introduced  about  the  time  of 
Phidias,  when  sculpture  had  attained  perfection  in  Greece. 
But  to  describe  the  second  Etruscan  style  is  almost  the  same 
as  to  describe  the  style  of  Michael  Angelo,  and  his  numerous 
imitators. 

It  is  by  tracing  the  progress  of  sculpture  in  Greece,  that  we 
trace  the  history  of  the  art  itself;  and  although  the  birth-place 
of  Daedalus  has  been  disputed,  we  may  consider  him  as  the 
first  of  the  Greek  sculptors,  and  the  inventor  of  a  new  and  im- 
proved style,  1234  years  before  the  Christian  era.  His  con- 
temporaries were  Dibutades  and  Smilis.  To  him  Athens  owed 
the  introduction  of  something  like  a  school  of  sculpture.  In 
these  primitive  schools,  however,  many  centuries  necessarily 
elapsed,  before  a  sculpture  could  be  considered  as  a  regular 
art.  Their  founders  and  pupils  were  little  more  than  ingeni- 
ous mechanics,  who  practised  carving  amongst  other  avoca- 
tions. 

Endoeus,  the  pupil  of  Dnedalus,  made  a  statue  of  Minerva, 
which  was  preserved  in  the  Acropolis  of  Athens;  and  from 
which  it  is  supposed  that  the  heads  of  Minerva,  on  the  earlj 


136 


SCULPTURE. 


Athenian  coins,  were  copied.  Epeus  and  Icmulous  also 
flourished  about  the  same  period;  the  former  immortalized  as 
the  fabricator  of  the  famous  Trojan  horse,  the  latter  praised  in 
the  Odyssey,  as  having  sculptured  the  throne  of  Penelope. 
These,  with  many  others  of  less  fame,  contributed  to  keep 
alive  the  knowledge  of  sculpture  during  the  heroic  ages  of 
Greece. 

Daedalus  and  Endoeus  formed  their  statues  of  wood.  Metal 
was  also  used  for  various  purposes  of  sculpture  in  Greece.  In 
these  early  times,  the  rude  efforts  of  the  sculptors  were  intend^ 
ed  to  represent  heroes  and  divinities  only.  Jupiter,  Neptune, 
and  several  heroic  characters  have  the  same  face,  figure,  and 
action,  as  the  Hercules  of  Daedalus — the  same  narrow  eyes, 
thin  lips,  and  pointed  chin.  Their  only  distinctions  were, 
that  Jupiter  held  a  thunderbolt,  Neptune  a  trident,  and  Her- 
cules a  palm-branch.  These  figures  are  still  to  be  seen  on 
many  ancient  vases,  small  bronzes,  and  coins  of  Athens  and 
Paestum. 

The  female  divinities  were  clothed  in  draperies  divided  in- 
to fe,w  perpendicular  iolds;  their  attitudes  the  same  as  those 
of  the  male  deities.  The  hair  of  both  male  and  female  statue^ 
was  arranged  with  great  care,  collected  in  a  club  behind,  and 
sometimes  entirely  curled. 

Besides  the  continental  school  of  Greece,  the  Ionian  school 
flourished  in  those  delightful  islands  which  lie  along  the  coast 
of  Asia  Minor,  and  chiefiy  in  Samos  and  Chios.  Rhoecus  wa« 
a  native  of  Samos,  who  lived  777  years  B.  C.  He  was  a  sculp- 
tor in  brass,  and  obtained  great  celebrity.  Telecles  and  The- 
odoras, his  son  and  grandaon,  were  also  celebrated  sculptors. 


SCULPTURE. 


137 


Their  works  in  ivory,  wood  and  metal  were  extant  in  the  age 
of  Pausanias. 

The  Chian  school  claims  the  merit  of  having  first  introduced 
the  material  to  which  sculpture  owes  its  perfection;  viz.  mar- 
ble. Malas,  the  founder  of  this  school,  is  said  to  have  the  mer- 
it of  this  invention.  He  flourished  649  years  before  Christ. 
His  followers  were  very  illustrious,  and  owed  much  of  their 
superiority  to  the  facility  of  procuring  the  beautiful  marbles 
of  their  native  islands. 

These  sculptors  left  their  art  in  the  commercial  cities  of 
Greece,  where  protection  and  encouragement  enabled  them 
to  pursue  their  labors  with  profit  and  security.  It  is  supposed 
that  statues  made  of  bronze  were  also  first  introduced  by  the 
artists  of  Chios. 

About  776  years  B.  C,  Dipoenus  and  Scyllis,  pupils  of  the 
Sicyon  school,  were  celebrated  for  their  marble  statues.  Their 
works  in  Parian  marble  were  admired  in  the  time  of  Pliny,  aod 
were  afterwards  held  in  peculiar  veneration. 

Their  compositions  retain  much  of  the  ancient  manner;  of 
which  the  characteristics  were,  energy,  but  harshness  of  de- 
sign, animation  without  gracefulness,  and  a  violence  of  ex- 
pression which  deprived  the  whole  figure  of  beauty. 

Elaborate  finishing  was  soon  afterwards  carried  to  excess; 
undulating  locks,  and  spiral  knots  of  hair  like  shells.  The 
drapery  was  wrought  with  the  most  elaborate  care,  while  the 
tasteless  and  barbarous  character  of  the  face  and  limbs  re- 
mained the  same. 

There  are  several  colossal  heads,  now  in  the  British  muse- 
um, which  are  supposed  to  be  the  works  of  Dipcenus  and  Scyl- 
10 


138 


SCULPTURE. 


lus.  These,  though  freer  from  the  faults  of  the  ancient  style 
than  most  of  the  productions  of  that  period,  afford  an  admira* 
ble  illustration  of  the  style  of  ancient  Grecian  art. 

In  Magna  Grecia  also,  sculpture  was  gradually  advancing 
in  taste  and  excellence,  its  chief  seats  were  at  Rhegium  and 
Crotona  in  Italy,  and  in  Sicily,  Syracuse,  and  Agrigentum. 
Dionysius  of  Rhegium  was  the  first  who  composed  a  statue  of 
Homer.  It  was  of  bronze,  and  from  it  were  taken  numerous 
portraits  of  the  father  of  verse,  which  are  mentioned  by  Pliny 
as  being  common  in  his  time.  Of  these  there  still  remain  two 
exquisite  examples.  Five  centuries  and  a  half  before  the 
Christian  era,  sculpture  was  practised  with  success  through- 
out Greece  and  her  colonies.  The  school  of  Sicyon  contin- 
ued to  send  forth  the  most  numerous  and  the  greatest  artists. 
Of  these  the  principal  were  Learchus,  a  native  of  Rhegium; 
Tecteus  and  Angelion,  who  erected  the  colossal  statue  of 
Apollo  at  Delos;  and  Perillus  of  Agrigentum,  who  cast  the 
famous  bull  of  Phalaris. 

.  In  the  year  517  B.  C.  Anthemus  and  Bupalus,  the  two  Chian 
brothers,  sons  of  Anthermis,  introduced  great  improvements  in 
the  art  of  marble  sculpture.  Greece  and  Asia  strove  to  possess 
their  works,  many  of  which  were  afterwards  carried  to  Rome 
by  Augustus.  On  some  of  their  statues  was  inscribed  the  fol- 
lowina  verse:  'The  sons  of  Anthermis  will  render  thee,  O 
Chios,  more  renowned  than  thy  vines  have  yet  done.'  From 
this  period  to  the  battle  of  Marathon,  sculpture  improved 
throughout  Greece.  At  Athens,  Pisistratus  laid  the  founda- 
tion of  a  new  school,  which  produced  the  greatest  masters  of 
the  art.    Under  his  protection,  the  most  esteemed  artists  of  all 


SCULPTURE. 


139 


descriptions  were  assembled;  Eucharis  famous  for  his  warriors 
in  armor;  Gallon,  for  his  bronze  statues;  and  Caliimachus. 
who  introduced  a  lightness  and  elegance  in  his  figures  hither- 
to unattained. 

The  Barbarini  Palace  yet  possesses  a  splendid  antique,  rep- 
resenting the  two  Muses,  the  work  of  Canachus  and  Aristo- 
cles,  artists  of  Sicyon,  belonging  to  this  period. 

B.  C.  490,  was  the  victory  of  Marathon,  which  destroyed 
the  Persian  power,  and  gave  a  beginning  to  the  Grecian,  or 
third  great  monarchy  of  the  world.  From  this  date,  to  the 
government  of  Pericles,  intervenes  a  period,  the  brightest  per- 
haps, in  moral  grandeur,  in  the  annals  of  Grecian  history. 

The  sculptors  who  then  flourished  were  the  immediate  pre- 
decessors, and  some  the  contemporaries  of  Phidias.  Calamis 
was  renowned  for  his  horses,  Critias  for  his  statues  of  Har- 
modus  and  Aristogiton — Onatas  for  his  admirable  statue  of 
Gelon,  King  of  Syracuse;  and  Glancias  for  an  iconic  figure  of 
Theogines,  of  Thasos.  But  Pythagoras,  a  native  of  Rhegium, 
surpassed  all  his  predecessors.  Some  of  his  works  exhibited 
deeper  sentiment  and  truer  feeling  than  had  yet  appeared  in 
any  work  of  statuary. 

His  chief  works  were  his  statues  of  Euthymus  and  Astylas, 
conquerors  in  the  Olympic  games;  and  his  statue  of  Philocte- 
tes,  remarkable  for  justness  of  proportion,  and  delicacy  of 
style. 

Myron  was  a  native  of  Eleutherae,  and  exercised  his  profes- 
sion chiefly  at  Athens.    The  decline  of  his  life  corresponds 
with  the  earliest  labors  of  Phidias.    He  thus  unites  the  first 
and  second  ages  of  Grecian  sculpture  ;  and  in  many  of  his 
10* 


140 


SCULPTURE. 


works  combined  the  greatest  beauty  of  style,  with  the  remain- 
ing harshness  and  defects  of  the  primitive  manner. 

His  chief  works  were  in  bronze;  his  most  colossal,  in  wood. 
No  original  of  his  has  descended  to  us,  but  his  famous  Discob*' 
olus  is  preserved  to  us  in  many  antique  copies.  His  composi^ 
tions  were  distinguished  for  energy,  science,  and  truth.  His 
statues  of  Bacchus,  Erichtheus,  and  Apollo,  executed  by 
order  of  the  state,  were  the  admiration  of  Athens. 

His  representations  of  animals  were  admirable,  and  thirty- 
six  are  still  extant,  composed  in  praise  of  his  famous  heifer.  In 
representing  the  mere  external  form,  Myron  carried  the  art  of 
sculpture  to  perfection;  but,  in  touching  the  heart,  or  raising 
the  imagination,  his  genius  failed. 

The  Grecian  sculptors  had  now,  however,  discovered,  that 
to  render  a  work  of  art  beautiful  as  a  whole,  the  parts  and 
proportions  must  correspond  with  the  general  character.  This 
at  least  was  ^n  admirable  ground-work  for  the  sublimity  and 
refined  taste  of  the  beautiful,  which  distinguished  the  next 
era. 


SCULPTURE. 


141 


CHAPTER  III. 

Birth  of  Phidias — Great  men  who  flourished  at  the  same  period — His 
works  divided  into  three  classes — Description  of  his  Olympian  Jupiter 
— Of  his  Minerva — Admiration  excited  by  these  works — Of  his  statues  in 
marble  and  bronze — Improvements  introduced  by  Phidias — Description 
of  the  temple  of  Minerva — Scholars  of  Phidias,  with  some  account  of 
their  works — Contemporary  artists — His  banishment  and  death— Re- 
marks upon  the  style  of  Phidias. 

Phidias  was  born  at  Athens,  in  the  seventy-second  Olym- 
piad, 490  years  before  the  Christian  era.  He  was  the  son  of 
Charmidas,  an  Athenian  citizen,  and  studied  under  the  sculp- 
tor Eladas.  He  flourished  at  the  same  period  with  the  phi- 
losophers, Socrates,  Plato,  and  Anaxagoras;  with  the  statesmen 
and  commanders,  Pericles  Miltiades,  Cimon,  Themistocles  and 
Xenophon;  and  with  the  tragic  poets,  iEschylus,  Euripides,  and 
Sophocles.  No  period  could  be  more  favorable  to  produce 
the  display,  and  to  encourage  the  growth  of  genius. 

The  numerous  works  of  Phidias  belong  to  three  distinct 
classes:  toreutic,  or  statues  of  mixed  materials,  chiefly  ivory; 
statues  of  bronze,  and  figures  in  marble.  Besides  these,  which 
include  his  chief  performances,  he  also  practised  in  wood, 
plaster,  clay,  and  labored  in  minute  carving. 

He  excelled  in  all  these  difterent  styles.  His  grand  under- 
takings were  executed  with  sublimity  and  force;  and  his  mi- 
nute labors  with  truth  and  simplicity 

To  the  first  divison  belong  his  Olympian  Jupiter,  and  the 
Minerva  of  the  Parthenon.  The  former,  which  has  excited 
the  wonder  and  praise  of  succeeding  ages,  was  placed  in  the 
Temple  at  Elis.    It  represented  Jupiter  sitting  on  a  splendid 


142 


SCULPTURE. 


throne,  carved  with  exquisite  skill.  In  his  right  hand  he  held 
a  sceptre,  in  his  left  he  extended  victory  to  the  Olympian  Con* 
querors.  His  head  is  crowned  with  olive,  and  his  pallium 
decorated  with  birds,  beasts,  and  flowers. 

The  four  corners  of  the  throne  were  dancing  Victories,  each 
supported  by  a  sphinx,  tearing  a  Theban  youth.  At  the  back 
of  the  throne,  were  the  three  Hours,  or  Seasons,  and  the  three 
Graces.  On  the  pannels  and  base  were  represented  various 
stories  of  the  heroic  ages;  and  on  the  pedestal,  an  assembly  of 
the  gods,  the  sun  and  moon  in  their  cars,  and  the  birth  of  Ve- 
nus. The  height  of  the  work  was  six:ty  feet.  The  statue  was 
of  ivory,  enriched  with  golden  ornaments  and  precious  stones, 
and  has  with  justice  been  esteemed  one  of  the  seven  wonders 
of  the  world. 

His  Minerva  was  forty  feet  high,  composed  of  gold  and  ivo- 
ry, and  fully  equal  to  h*:s  Jupiter  in  beauty  of  workmanship 
and  richness  of  material.  The  goddess  was  represented  in  an 
erect  attitude,  and  clothed  in  a  flowing  tunic.  In  one  hand  she 
held  a  spear,  and  upon  her  hdad  was  a  casque.  On  the  ground 
was  her  buckler,  exquisitely  carved;  the  concave  side  repre- 
senting the  war  of  the  giants;  and  the  conve^x  a  conflict  with 
the  Amazons.  Among  the  Athenian  combatants  was  a  portrait 
of  Phidias  himself,  and  his  patron,  Pericles. 

On  the  golden  sandals  was  sculptured  the  battle  of  the  Cen- 
taurs, praised  by  historians  as  a  perfect  gem  of  minute  art. 

So  much  were  these  works  admired,  that  they  were  regard- 
ed as  having  added  majesty  to  religion  itself;  and  it  was  es- 
teemed a  misfortune  to  die  without  having  beheld  them;  yet 
Phidias  himself  disapproved  of  the  mixed  eflTect  produced  by 


SCULPTURE. 


143 


the  combination  of  different  substances;  and  powerful  as  the 
impression  was  of  these  colossal  statues,  rising  in  all  their 
magnitude  amid  the  dim  light  of  the  ancient  temple,  yet  the 
effect  produced  was  altogether  different  from  the  solemn  re- 
pose— the  simple  majesty  of  expression,  in  which  the  true  sub- 
limity of  sculpture  consists. 

Of  the  bronze  and  marble  statues  of  Phidias,  the  most  cele- 
brated were  his  Venus,  placed  by  the  Romans  in  the  temple 
of  Octavia;  and  two  Minervas,  one  at  Lemnos,  and  the  other 
in  the  Acropolis.  The  last  was  of  such  lofty  proportions,  that 
her  crest  and  helmet  might  be  discerned  above  the  battlements 
of  the  citadel  at  a  distance  of  twenty-five  miles;  a  land-mark 
to  the  Athenian  mariner,  as  he  rounded  the  promontory  of 
Sunium. 

The  character  of  the  ancient  figures  was  stiff  and  meagre, 
with  poor  drapery,  resembling  geometrical  lines.  The  supe- 
rior genius  of  Phidias  gave  a  grandeur  to  his  compositions,  a 
grace  to  his  groups,  a  softness  to  the  Hesii,  and  flow  to  the 
drapery,  unknown  to  his  predecessors. 

The  temple  of  Minerva  in  ihe  Acropolis  was  built  by  Icti- 
nus  and  Callicrates,  under  the  direction  of  Phidias,  and  form- 
ed a  worthy  shrine  for  the  magnificent  statue  of  the  goddess. 
The  two  pediments  of  the  teinplc  were  each  eighty-eight  feet 
long,  filled  with  groups  and  statues  from  eight  to  nine  feet 
high.  The  subject  of  the  western  pediment  related  to  the 
birth  of  the  goddess,  and  her  introduction  to  the  gods;  that  of 
the  eastern  to  the  dispute  between  Neptune  and  Minerva  for 
the  patronage  of  Athens. 

A  frieze  of  330  feet,  round  the  wall  of  the  temple  under  the 


144 


SCULPTURE. 


portico,  was  decorated  with  the  procession  of  the  Grecii».K. 
States  in  honor  of  Minerva,  in  chariots  and  on  horseback, 
bearing  offerings  and  presenting  the  sacred  veil,  while  the 
gods  upon  their  thrones  were  assembled  in  solemn  state  to 
witness  the  ceremony. 

Specimens  of  the  metopes  and  basso-relievos  under  the  porti- 
co astonish  us  by  their  grandeur,  to  which  the  utmost  simplici- 
ty and  elegance  are  united;  and  it  is  fortunate  for  the  arts  in 
Britain,  that  they  possess  various  undoubted  originals  of  Phi- 
dias,  which  will  for  ever  supply  a  criterion  by  which  to  esti- 
mate all  that  is  beautiful  and  great  in  the  art.* 

Of  the  scholars  of  Phidias  were  Alcamenes,  celebrated  for 
his  Venus  Aphrodite,  to  which  Phidias  is  said  to  have  given 
the  last  touches,  and  Agoracritus  of  Paros.  Among  his  con- 
temporaries, Polycletus,  the  second  of  his  name,  has  been 
thought  by  some  to  equal  the  great  Athenian  in  majesty.  His 
most  celebrated  performances  were  the  statues  of  two  youths, 

*  Some  have  supposed  that  the  famous  statue  of  the  Apollo  Belvidere^ 
which  now  adorns  the  Vatican,  was  copied  from  an  Apollo  by  Phidias — but 
others  regard  it  as  the  work  of  Calamis,  an  Athenian  statuary.  Sublime  in 
beauty,  and  terrible  in  anger,  this  wonderful  statue  excites  the  admiration 
at  once  of  the  ignorant  and  of  the  learned. 

*  Or  view  the  Lord  of  the  unerring  bow, 
The  God  of  life,  and  poesy,  and  light — 
The  sun  in  human  limbs  arrayed,  and  brow, 
All  radiant  from  his  triumph  in  the  fight ; 
The  shaft  hath  just  been  shot,  the  arrow  bright 
With  an  immortal's  vengeance ;  in  his  eye 
And  nostril  beautiful  disdain,  and  mioht. 
And  majesty,  flash  their  full  lightnings  by. 
Developing  in  that  one  glance  the  Deity.' 

This  poetical  description  is  equally  correct  and  beautiful. 


SCULPTURE. 


145 


the  Diodumenes  and  the  Doryphorus,  so  called  from  their  ac- 
tion of  binding  the  head  with  a  fillet,  and  bearing  a  spear. 
The  latter  statue  was  a  model  of  perfect  proportion,  which  ev- 
ery succeeding  artist,  even  Lysippus,  considered  as  his  stand- 
ard. 

Ctesiphon  also  was  an  artist  who  disputed  with  Phidias  him- 
self the  public  prize  of  merit  for  a  statue  of  Ephesian  Diana; 
and  he  has  been  frequently  considered,  though  probably  with- 
out foundation,  as  the  sculptor  of  the  finest  specimen  of  art 
now  in  existence — the  Dying  Gladiator.  No  ancient  statue 
has  discovered  so  profound  a  knowledge  of  the  internal  struc- 
ture of  the  human  frame  as  this. 

Among  other  emulators  of  Phidias,  we  hear  of  Critias,  Nes- 
tocles,  and  Hegias;  also  of  Agelades,  Gallon,  Phragmon, 
Gorgias,  Lacon,  and  Scopas.  These  sculptors  were  employ- 
ed on  the  temples  of  Minerva  and  Theseus,  and  in  the  relievos 
which  remain  to  us  it  would  probably  be  easy  to  trace  some 
of  the  artists,  by  a  rosrmblance  to  others  of  their  known 
works. 

Envy  drove  Phidias  into  banishment,  and,  after  his  death, 
which  took  place  some  time  before  that  of  his  patron,  the  his- 
tory of  art  is  carried  forward  through  the  most  stormy  and  un- 
settled period  of  Grecian  annals.  With  Phidias  himself,  the  sub- 
lime style  perfected  by  him  seems  almost  to  have  expired. 
The  art  did  not  decline,  but  beauty  and  grace  began  to  be 
preferred  to  the  more  heroic  and  masculine  style  of  his  works. 

The  style  of  Phidias,  therefore,  as  forming  an  era  of  itself, 
deserves  a  peculiar  examination.  In  the  marbles  of  the  Brit- 
ish Museum,  which  formerly  adorned  the  Parthenon,  we  may 


146 


SCULPTURE. 


trace  his  practice,  and  behold  his  wonderful  conceptions. 
Grandeur  is  the  prevailing  principle;  but  it  is  the  grandeur  of 
simplicity  and  nature.  There  is  no  parade  or  ostentation, 
but  an  ease  and  grace  which  make  us  forget,  as  we  gaze  upon 
them,  that  time  and  labor  have  been  employed  in  their  forma- 
tion. 

The  ancients  compared  the  effects  produced  by  the  works 
of  Phidias,  to  those  of  the  eloquence  of  their  greatest  orators; 
in  which  the  whole  soul  was  borne  along  in  one  engrossing 
feeling.  But  Demosthenes  was  stern  and  severe  ;  Phidias 
sweet  and  gracious,  even  while  energetic. 

To  use  the  language  of  the  ancients  in  speaking  of  him,  he 
united  the  three  great  characteristics  of  truth,  grandeur,  and 
refinement.  His  practice  was  scrupulous  in  detail,  yet  won- 
derful for  its  majesty,  gravity,  breadth,  and  magnificence. 
His  handling  was  rapid,  broad,  and  firm,  yet  never  departing 
from  minute  correctness. 

In  this  happy  union  of  nature  and  imagination,  of  lofty  sen- 
timent and  simple  truth,  Phidias  stands  without  a  rival  among 
the  masters  of  the  ancient  world.^ 

*  In  speaking  of  the  ancient  statues,  the  famous  antique  Torso  must  not 
be  forgotten,  though  it  is  quite  uncertain  to  what  period  it  refers.  It  is 
the  fragment  of  a  statue,  supposed  to  have  been  that  of  the  Hercules  Far- 
nese,  of  which  nothing  remains  but  the  trunk,  as  the  name  imports.  It 
has  excited  the  admiration  of  connoisseurs,  and  the  disputes  of  antiquaries. 
*  Who,'  says  Sir  Joshua  Reynolds,  '  ever  looked  at  the  Torso  without  feel- 
ing a  warmth  of  enthusiasm,  as  from  the  highest  efforts  of  poetry  ?  A 
mind  elevated  to  the  contemplation  of  excellence  perceives  in  this  defaced 
and  shattered  fragment,  the  traces  of  superlative  genius,  the  relics  of  a 
work  on  which  succeeding  ages  can  only  gaze  with  inadequate  admira- 
tion V 


SCULPTURE. 


147 


CHAPTER  IV. 

Progress  of  sculpture  in  Greece — Its  third  style — Masters  who  flourished  in 
the  interveninfT  period — Their  most  celehtated  works — Birth  of  Praxi- 
teles— The  Venus  of  Cnidos— Style  of  Praxiteles— His  chief  works — 
Birth  of  I.ysippus — His  principal  compositions — The  Venetian  Horses — 
State  of  the  art  at  the  death  of  Alexander  the  Great — Artists  who  flour- 
ished after  Lysippus  and  Praxiteles — The  CoIosbus  of  Rhodes — The  Lao- 
coon— Fall  of  the  arts  in  Greece. 

Sculpture  had  now  advanced  progressively,  from  a  style  of 
simple  and  severe  majesty,  to  one  of  more  studied  elegance 
and  softer  character.  This  change  had  already  commenced  in 
the  life-time  of  Phidias,  and  was  developed  by  those  artists 
who  flourished  at  the  commencement  of  the  Macedonian  Em- 
pire. 

The  third  style  is  termed  the  era  of  the  Beautiful.  It  com- 
menced with  Lysippus  and  Praxiteles;  but  between  these  two 
divisions  of  Greek  sculpture,  the  Grand  and  the  Beautiful,  sev- 
eral artists  worthy  of  notice  formed  a  kind  of  intermediate 
chain. 

The  names  of  nearly  fifty  sculptors  of  this  intervening  peri- 
od, have  been  handed  down  to  us  by  Pausanias,  Strabo  and 
Pliny.  Among  these,  Naucydes  was  the  author  of  that  beau- 
tiful figure,  holding  a  discus,  and  measuring  the  distance  in 
his  own  mind,  of  which  various  antique  copies  remain;  and 
which  is  remarkable  for  its  fine  position,  sweet  variety  of  con- 
tour, and  unaffected  expression. 

Scopas,  the  author  of  the  famous  group  of  Niobe,  was  born 
370  years  before  Christ;  and  was  the  most  eminent  artist  of 
his  time.    His  Niobe  is  now  in  the  Florentine  gallery.  The 


148 


SCULPTURE. 


sentiment  expressed  in  her  countenance,  is  the  sublimity  of 
maternal  affection.  She  exposes  her  own  life,  to  shield  her 
child  from  the  celestial  arrow.  The  separate  statues  of  Ni- 
che's children,  are  remarkable  for  the  same  heroic  beauty 
which  distinguishes  the  countenance  of  their  mother; — but 
mingled  with  fear  and  agony. 

Scopas  was  also  the  sculptor  of  Venus,  now  in  the  British 
museum.  Grvice,  softness,  and  truth,  were  the  characteris- 
tics of  his  style. 

Leocharis,  Bryaxis,  and  Timotheus,  were  contemporary  ar- 
tists, and  assisted  in  the  erection  of  the  tomb  of  Mausolus, 
which  was  built  under  the  direction  of  Scopas. 

Ctesilas  was  famous  for  his  wounded  man,  in  whom  life 
still  remained.  It  is  probable  that  this  statue  is  the  same  as 
the  Dying  Gladiator. 

Praxiteles  was  born  in  the  104th  Olympiad,  364  years  B.  C. 
He  was  a  native  of  Magna  Grecia,  but  of  what  town,  is  uncer- 
tain. He  is  celebrated  for  many  works — but  he  is  immortal- 
ized as  being  the  sculptor  of  the  Venus  of  Cnidos;  which 
offered  the  first  idea  of  the  famous  Venus  de  Medicis. 

The  temple,  in  which  this  celebrated  statue  was  placed,  was 
entirely  open;  because,  from  every  point  of  view,  the  statue 
was  equally  admirable.  Many  sailed  to  Cnidos  for  the  purpose 
of  viewing  it. 

This  Venus  was  still  in  Gnidos,  during  the  reign  of  the  em- 
peror Arcadius,  400  years  after  Christ.  The  Venus  de  Medi- 
cis, which  adorns  the  Florentine  gallery,  has  furnished  matter 
of  dispute  to  the  learned;   but  from  the  Venus  of  Praxiteles, 


c 


SCULPTURE. 


149 


was  certainly  taken  the  idea  of  that  perfect  statue,  which  '  en- 
chants  the  world;' 

*  The  unruffled  mirror  of  the  loveliest  dream, 

'  That  ever  left  the  sky  on  the  deep  soul  to  beam.' 

Praxiteles  was  the  first,  perhaps  the  sole,  master  who  attain- 
ed the  true  ideal  in  female  beauty — the  perfect  union  of  femi- 
nine grace,  with  the  dignity  of  intellectual  expression.  His 
Venus  of  Cos  was  the  perfection  of  a  draped  statue. 

Among  his  other  known  works,  were  his  Satyr,  Cupid, 
Apollo,  the  lizard-killer,  and  Bacchus  leaning  on  a  fawn.  These 
still  remain,  either  in  originals  or  repetitions. 

Praxiteles  succeeded  in  uniting  softness  with  force,  ele- 
gance and  refinement  with  purity  and  simplicity — and  external 
beauty  of  form  with  the  colder  but  loftier  charm  of  expression 
emanating  from  the  mind. 

Lysippus,  the  contemporary  and  rival  of  Praxiteles,  was 
born  at  Sicyon,  in  the  114lh  Olympiad.  He  was  originally  a 
tinker  or  brazier,  but  the  consciousness  of  genius,  raised  him 
out  of  this  low  sphere,  and  he  applied  himself  to  study  under 
the  painter  Eupompus. 

The  chief  works  of  this  great  master,  were  in  bronzr.  His 
Tarentine  Jupiter,  sixty  feet  high,  was  equal  in  magniiude  to 
any  undertaking  in  the  ancient  world;  and  twenty-one  eques- 
trian statues  of  Alexander's  body-guard,  who  fell  at  titc  Gra- 
nicus,  must  have  been  a  work  of  extraordinary  labor. 

But  he  was  not  only  famous  in  great  works;  he  produced 
others  of  the  most  delicate  and  beautiful  description.  Exqui- 
site finish,  a  faithful  imitation  of  nature,  and  a  perfect  knowl- 


150 


SCULPTURE. 


edge  of  symmetry,  distinguished  his  works.  Alexander  the 
Great  held  him  in  such  high  estimation,  that  he  forbade  any 
one  else  to  cast  his  statue,  upon  pain  of  death.  x\nd  centuries 
afterwards,  an  insurrection  of  the  Roman  p(jople,  which  made 
the  tyrant  Tiberius  tremble  in  his  palace,  was  caused  by  the 
removal  of  one  of  the  statues  of  Lysippus,  from  the  public 
baths. 

Of  the  six  hundred  and  ten  works  attributed  to  Lysippus, 
not  one  survives. 

The  famous  Venetian  horses,  which  formerly  stood  on  the 
Place  Carousel  in  Paris,  and  have  since  been  restored  to  St. 
Mark's,  have  been  attributed  to  Lysippus;  but  on  doubtful 
testimony.  They  are  besides  wholly  unworthy  of  his  reputa- 
tion. 

With  the  death  of  Alexander,  the  arts  declined  in  Greece, 
but  it  was  a  brilliant  and  a  long  decline,  and  extended  through 
nearly  two  hundred  years,  from  the  dismemberment  of  the 
Macedonian  empire,  till  Greece  became  a  Roman  province. 

To  this  period,  belong  many  of  the  antique  marbles,  now  re- 
maining. The  names  of  Cephissodorus,  the  son  of  Praxiteles, 
and  of  his  pupils,  and  those  of  Lysippus,  Tauriscus,  Eubolas, 
Pamphilus,  Polyceutas,  and  Agasias,  are  celebrated  in  the 
annals  of  Greek  sculpture.  The  famous  work  of  Agasias  was 
his  heroic  statue,  of  the  Fighting  Gladiator.  The  famous  Co- 
lossus of  Rhodes  is  supposed  to  have  been  the  work  of  Chares,, 
a  pupil  of  Lysippus.  It  was  a  brazen  statue  of  Apollo,  or  the 
sun,  placed  across  the  entrance  of  the  harbor,  its  feet  placed 
upon  two  rocks,  so  that  the  Rhodian  vessels  could  pass  undier 
its  legs.    It  was  seventy  cubits  high,  or  one  hundred  English 


SCULI>TURE. 


151 


feet.  Few  persons  could  embrace  its  thumb.  Sixty  years  af- 
ter its  construction  this  monstei  of  art  was  laid  low  by  an 
earthquake,  which  broke  it  off  at  the  knees.  When  the  Sara- 
cens conquered  Rhodes,  A.  D.  684,  it  was  beaten  to  pieces, 
and  sold  to  a  Jew  merchant,  who  loaded  above  nine  hundred 
camels,  with  its  spoils.  Some  authors  believe  that  Chares 
commenced  the  statue,  but  that  Laches,  his  fellow  countryman, 
finished  it  after  a  labor  of  twelve  years,  and  placed  it  upon  its 
pedestal.  It  was  ranked  among  the  seven  wonders  of  the 
world. 

After  this,  the  labors  of  the  artists  seem  to  have  been  chief- 
ly confined  to  copies  of  the  works  of  the  older  masters;  or  to 
marble  repetitions  of  the  ancient  bronzes.  One  bright  inter- 
val arose  in  Greece,  upon  the  declaration  of  freedom  to  their 
states  by  the  Romans. 

For  thirty  years  after  this  period,  sculpture  was  cultivated 
with  success  by  Anthcus,  Callistratus,  Polyclcs,  Apollodorus, 
and  many  other  great  masters.  The  famous  group  of  the  Lao- 
coon,  is  supposed  to  have  been  the  work  of  Apollodorus,  Athe- 
nodorus,  and  Agesander  of  Rhodes. 

The  agony  of  the  father  and  his  sons;  the  children's  appeal 
to  the  father,  and  the  father's  to  the  gods,  is  pathetic  in  the 
extreme.  The  convulsed  rise  of  the  youngest  child  from  the 
ground  produces  an  electrit^al  effect. 

'  Or,  turning  to  the  Vatican.  2:0  see 

Laocoon's  torture  dignifying  pain — 

A  father's  love  and  mortal's  agony 

With  an  immortal  patience  blending — vain 

The  struggle  ;  vain,  against  the  coiling  strain 

And  gripe,  and  deepening  of  the  dragon's  grasp, 


152 


SCULPTURE. 


The  old  man's  clench ;  the  long  envenom'd  chain 
Rivets  the  living  links,— the  enormous  asp 
Enforces  pang  on  pang,  and  stifles  gasp  on  gasp.' 

But  the  Achaean  League  was  dissolved;  the  independence  of 
Greece  terminated,  and  the  knell  of  freedom  and  the  arts  re- 
sounded throug^h  her  land. 


CHAPTER  V. 

Two  divisions  of  sculpture  in  Italy — Remains  of  Etruscan  sculpture- 
Etruscan  medals,  geins,  and  vases — Fall  of  the  art  in  Etruria — Of  sculp- 
ture at  Rome — Plunder  of  the  Grecian  cities — Anecdote  of  a  Roman  Gen- 
eral— State  of  the  art  till  the  reign  of  Hadrian — New  style  introduced  in 
Rome — Close  of  the  annals  of  aacient  art — Remarks  on  the  superiority 
of  Grecian  sculpture',  and  its  causes. 

The  history  of  sculpture  in  Italy  may  be  divided  into  two  dis- 
tinct classes;  the  Etruscan  and  the  Roman.  Of  the  former 
we  have  already  spoken,  as  having  attained  an  equal  if  not  a 
prior  degree  of  excellence,  as  compared  with  Greece. 

The  remains  of  Etruscan  sculpture  are  not  numerous,  and 
of  these  the  authenticity  of  some  is  doubtful.  They  consist  of 
medals  and  coins;  statues  of  bronze  and  marble;  relievos; 
sculptuied  gems;  engraved  bronze;  and  paintings. 

The  coins  and  medals  are  the  most  numerous  and  beautiful. 
They  are  all  cast  of  a  compound  metal.  Of  the  statues,  it  is 
difficult  to  decide  whether  they  are  Greek  or  Etruscan.  En- 
graving upon  gems  was  brought  there  to  great  perfection  at 


SCULPTURE. 


153 


^Sin  early  period.  Of  this  minute  but  beautiful  art,  the  oldest 
specimen  now  extant  represents  five  of  the  seven  chiefs  who 
fought  against  Thebos.  Of  these  the  workmanship  is  i  ude ;  but 
there  are  other  Etruscan  gems,  called  scarabei,  from  their  re- 
semblance to  the  shape  of  a  beetle,  which  are  exquisite  per- 
formances. 

The  most  curious  and  most  numerous  remains  of  Etruscan 
art  are  their  engraved  bronzes,  called  patera,  which  were 
small  vessels  used  in  sacrificing,  circular,  and  with  a  ha/udle. 
It  was  after  the  Etrurian  territory  was  reduced  to  the  limits  of 
Etruria  Proper,  that  the  national  arts  flourished  there;  and 
that  their  national  style  was  formed.  But  the  Romans  inva- 
ded their  tranquillity.  Etruria  sunk  beneath  their  rude  des- 
potism, and  480  years  after  the  building  of  Rome  the  Etruscan 
school  ceased  to  exist. 

Sculpture  was  never  cultivated  in  Rome  as  a  native  acquire- 
ment. For  a  long  period  of  years,  the  victorious  and  warlike 
Romans  possessed  only  sufficient  knowledge  to  value  the  ge- 
nius of  others.  From  Volsinium  alone  they  carried  off  two 
thousand  statues,  and  from  Rhodes  three  thousand.  Marcellus 
plundered  Syracuse  of  her  numerous  works  of  art,  as  trophies 
of  his  victorious  arms. 

Rome  was  enriched  with  the  plunder  of  Greece,  and  we  are 
told  that  Cato  opposed  the  introduction  of  Greek  statuary,  fear- 
ing lest  its  divine  forms  would  expose  to  ridicule  the  rude  and 
uncouth  Roman  deities.  When  Corinth  was  sacked  of  her 
treasures,  the  inhabitants  offered  a  large  sum  for  a  picture  of 
Bacchus  which  the  Roman  soldiers  had  converted  into  a  table. 
The  Roman  general  instantly  suspected  that  the  picture  must 
11 


154 


SCULPTURE. 


contain  gold,  from  the  value  which  they  set  upon  it,  and 
delivered  it  to  a  messenger,  ordering  him  to  carry  it  safely  to 
Rome,  under  penalty  of  being  obliged  to  paint  one  equally 
good.  Thus  the  republican  taste  was  pretty  much  in  keeping 
with  the  state  of  the  art  at  Kome,  characterized  by  TibuUus, 
when  he  says, 

^  In  paltry  temple  stood  the  wooden  god.' 

During  the  latter  period  of  the  commonwealth,  Sylla,  Pom- 
pey,  and  Caesar  attempted  in  succession  to  encourage  the  art 
in  Rome.  But  they  only  succeeded  in  collecting  in  their  capi- 
tal numerous  Grecian  sculptors,  who  employed  their  talents 
in  immortalizing  the  features  of  their  conquerors. 

The  sculptors  of  the  Augustan  age  are  all  Greek,  and  chief- 
ly Athenian.  The  most  eminent  were  Pasiteles,  Arcesilaus, 
Zopirus,  and  Evander.*  From  Augustus  to  Trajan,  a  period  of 
140  years,  the  principles  and  practice  of  the  Greeks  continued 
to  be  observed.  The  arches  raised  to  Titus,  Trajan,  Marcus 
Aurelius,  Severus,  and  Constantine,  were  all  executed  by 
Greek  artists. 

They  breathe  the  spirit  of  the  people  they  commemorate. 
The  figures  consist  of  mobs  of  Romans  in  armor,  bearing  down 
scattered  Germans,  Dacians,  and  Sarmatians — soldiers  felling 
timber,  binding  captives  and  slaughtering  without  mercy. 
The  whole  are  vulgar  in  the  conception,  and  savage  in  senti- 
ment. 

In  the  reign  of  Hadrian,  a  new  style  of  sculpture  was  intro- 
duced, which  may  be  properly  considered  Roman.    It  is  char- 
It  is  probable  that  the  beautiful  group  of  Cupid  and  Psyche  was  the 
work  of  an  artist  of  this  period. 


SCULPTURE. 


155 


acterized  by  minute  finish;  the  labor  of  the  hand,  with  little 
invention  of  the  mind.  Over  all,  there  is  an  air  of  studied  and 
affected  refinement,  with  no  expression  of  nature  or  character. 

From  the  reign  of  the  Antonines,  to  that  of  Constantino, 
sculpture  in  Italy  declined  rapidly;  and  after  Constantine,  the 
annals  of  ancient  art  may  be  considered  as  closed. 

Yet  Grecian  geuius  never  wholly  slumbered.  In  the  midst 
of  every  disadvantage,  conquered  and  enslaved,  they  still  con- 
tinued to  exercise  the  art  of  design.  Even  till  the  taking  of 
Constantinople  by  the  Turks,  in  the  fifteenth  century,  they 
employed  themselves  in  small  works  of  great  elegance  and 
beauty. 

Their  manifest  superiority  over  all  other  nations,  in  the  art 
of  sculpture,  may  be  attributed  to  a  variety  of  causes.  The 
influence  of  climate  on  personal  beauty  is  universally  ac- 
knowledged. In  the  mild  and  genial  temperature  of  Greece, 
the  human  form  possessed,  in  perfection,  all  the  symmetry  of 
muscular  strength,  and  all  the  delicacy  of  female  beauty. 

Models  were  before  the  eye  of  the  sculptor,  worthy  to  rep- 
resent his  brightest  idea  of  divinity.  No  tyrannical  laws,  as 
among  the  Egyptians,  impeded  the  progress  of  the  arts. 

Sculptors  were  held  in  high  estimation;  whereas  amongst 
the  Romans,  the  ait  was  long  considered  a  mere  mechanical 
profession,  and  a  fitting  employment  for  slaves.  Among  the 
Greeks,  an  artist  might  be  a  legislator,  a  statesman,  or  a  com- 
mander of  armies.  The  greatest  sages  of  Greece  rewarded 
the  productions  of  art  in  their  general  assembly,  and  the  sculp- 
tor who  had  executed  a  work  with  ability  and  taste,  was  confi- 
dent of  obtaining  immortality. 
II* 


156 


CHAPTER  VI. 

Effects  upon  the  art,  caused  by  the  irruptions  of  the  barbarians — The  arts 
begin  to  revive  in  Italy — Western  Europe  derived  its  knowledge  of 
Sculpture  from  the  Greeks — Preserved  by  them  during-  the  dark  ages — 
Cathedral  of  Pisa — Of  Nicolas  Pisano— Andrea  Tafi — Chief  masters  in 
the  14th  century — Donatelio  the  Florentine — Some  account  of  his  works 
— Progress  of  Sculpture  in  the  IGth  century — Chief  artists  of  that  period 
— Remarks  upon  the  state  of  the  art,  and  its  characteristics  during  the 
.14th  and  15th  centuries — Florence  in  the  16th  century — First  works  of 
Michael  Angelo — Character  of  his  Sculpture — llis  most  celebrated  com- 
positions— His  cotemporaries  and  pupils — Of  Torrigiano — Benvenuto 
Cellini — State  of  the  art  at  the  close  of  the  16th  century. 

From  the  fifth  to  the  tenth  century  of  the  Christian  era,  the 
irruptions  of  the  barbarians  into  the  provinces  of  the  Roman 
empire,  spread  universal  devastation.  The  works  of  ancient 
genius  were  buried  under  the  ruins  of  temples  and  palaces; 
and  the  finest  monuments  of  architecture  were  converted  into 
fortresses. 

It  was  not  till  the  dawn  of  liberty,  in  the  republican  cities  of 
Italy,  that  the  arts  began  to  emerge  from  darkness.  Venice, 
Genoa,  and  Pisa  were  the  first  to  enrich  their  countries  by 
commerce;  and  the  Venetians,  in  the  building  and  decoration 
of  St.  Mark's,  first  began  to  emulate  the  style  of  Grecian 
sculpture. 

Schools  of  painting,  sculpture,  and  architecture,  were  form- 
ed in  Italy  in  the  eleventh  and  twelfth  centuries;  and  the  tal- 
ents produced  in  them  were  employed  in  the  cause  of  reli- 
gion. 

There  can  be  little  doubt  that  the  art  of  sculpture  was  de- 
rived by  western  Europe  from  the  Greeks.  Even  during  the 
reigns  of  those  emperors,  by  whom  the  Christians  were  most 


SCULPTURE. 


157 


cruelly  persecuted,  when  obliged  to  worship  their  God  in  the 
silence  and  darknesss  of  sepulchral  chambers,  they  adorned 
these  retreats  with  portraits  and  subjects  from  scripture.  And 
when  Constantino  and  his  successors  built  the  Santa  Sophia, 
and  the  church  of  the  Apostles  at  Constantinople,  they  were 
adorned  with  Grecian  mosaics  and  statues. 

There  still  remain,  in  the  libraries  of  the  Emperor  of  Austria 
and  the  King  of  France,  Greek  works  of  great  beauty,  execu- 
ted during  the  middle  ages.  In  the  eleventh  century,  the 
splendid  church  of  Pisa  was  built  by  a  Greek  artist.  It 
has  received  the  honor  of  being  allowed  to  have  taken  the 
lead  in  the  restoration  of  art.  Its  cathedral,  baptistery,  fall- 
ing tower,  and  cemetery,  present  a  scene  of  architectural  mag- 
nificence, which  is  not  to  be  equalled  in  the  world. 

Before  the  close  of  the  13th  century,  sculpture  began  to  be 
practised  by  native  artists  in  Pisa  and  the  neighboring  cities 
of  Etruria.  The  founder  of  this  primitive  school  was  Nico- 
lo  Pisano.  The  works  of  this  master,  and  those  of  his  schol- 
ars, are  still  to  be  seen  in  their  native  city. 

His  grandson,  Andrea  Tafi,  a  Florentine,  was  the  cotempo- 
rary  of  Cimabue.  He  studied  under  the  Grecian  artists,  who 
were  decorating  the  interior  of  the  church  of  St.  Mark's  at 
Venice,  and  afterwards  went  to  Florence  to  exercise  his  art. 
There,  in  conjunction  with  Apollonius,  a  Grecian  painter,  he 
executed  the  mosaics  in  St.  John's  Baptistery  at  Florence. 

In  1350,  the  first  ^Academy  of  Design  was  established  at 
Florence;  and  before  the  close  of  the  century,  sculpture  was 
successfully  practised  throughout  Italy.  Among  the  artists  of 
Pisa,  John  Pisano,  the  son  of  Nicolo,  was  one  of  the  chief 


158 


SCULPTURE. 


masters  of  his  time.  His  statues  of  the  Virgin  and  Child  are 
highly  celebrated.  Both  he  and  his  father  improved  their 
taste  by  the  study  of  the  antique  basso-relievos  in  the  Campo 
Santo. 

The  compositions  of  John  and  Nicolas  Pisano  are  simple 
and  intelligible,  and  their  female  figures  have  much  elegance 
of  movement  and  drapery.  Andrea  Ugolino  Pisano,  from  the 
school  of  these  sculptors,  designed  and  executed  in  bronze 
the  oldest  gate  of  the  Baptistery  in  Florence.  The  compart- 
ments represent  the  life  of  St.  John.  His  compositions  have 
a  gothic  and  simple  grandeur.    He  died  in  1345. 

The  next  distinguished  restorer  of  sculpture  was  Donatello, 
the  Florentine,  born  in  1383.  At  the  age  of  twenty  he  was  al- 
ready eminent  in  his  profession;  and  many  of  his  works  might 
stand  a  comparison  with  the  best  productions  of  ancient 
Greece. 

In  the  Santa  Maria  del  Fiore,  the  cathedral  of  Florence, 
there  is  an  alto-relievo  of  his,  representing  two  singing  boys; 
a  production  of  extraordinary  beauty.  In  the  Florence  galle- 
ry is  a  bronze  statue  by  Donatello,  supposed  to  be  a  Mercury, 
of  which  the  delicate  proportion  are  scarcely  excelled  by  the 
best  works  of  antiquity.  His  marble  statue  of  St.  George  is 
simple  and  energetic.  He  stands  upright,  his  hands  resting 
on  his  shield  before  him.  Michael  Angelo,  after  admiring 
this  statue  for  some  time  in  silence,  suddenly  exclaimed, 
'  March.' 

It  was  also  to  a  statue  of  Donatello's  representing  St.  Mark, 
that  the  same  great  master  addressed  the  emphatic  words,. 
*  Marco,  perch^  non  mi  parli  ?'  Donatello  died  in  1466,  at 
the  advanced  age  of  eighty-three. 


SCULPTURE. 


159 


The  fifteenth  century  to  which  Donatello  belonged,  was  a 
splendid  era  in  the  progress  of  the  arts.  Brunellcschi  was 
the  author  of  a  Crucifixion,  wliich  represents  the  suffering 
Saviour  in  a  manner  which  the  coldest  eye  cannot  regard 
with  indifference. 

Lorenzo  Ghiberti  has  immortalized  his  name  by  the  bronze 
gates  of  the  Baptistery  of  St.  John.  He  occupied  forty  years 
in  this  work.  The  subjects  are  upon  pannels  in  relievo,  and 
taken  from  historical  passages  in  scripture.  Michael  Angelo 
declared  that  they  were  worthy  to  be  the  Gates  of  Paradise. 

Among  other  distinguished  sculptors  of  that  period,  were 
Jacomo  della  Quercia,  who  died  in  1418  ;  Nicolo  di  Banco, 
in  1421 ;  Luca  della  Robbia,  in  1442;  also  Francisco  di  Val- 
danbrind,  and  Simon  dvi  Colle,  Tuscans. 

The  pupils  of  Donatello  were  numerous,  and  include  most 
of  the  chief  masters  of  the  latter  part  of  the  15th  century. 
The  art  did  not  languish  in  their  hands,  yet  they  did  not  add 
greatly  to  the  value  of  modern  sculpture.  Andrea  del  Ver- 
rochio,  who  lived  towards  the  close  of  the  century,  is  chiefly 
known  as  being  the  master  of  Pietro  Perugino  and  Leonardo 
da  Vinci. 

The  thirteenth  and  fourteenth  centuries  may  be  termed  the 
infancy  of  modern  sculpture.  With  the  fifteenth  its  manhood 
begins;  and  at  the  close  of  that  period  it  had  in  some  respects 
attained  its  full  vigor. 

The  first  era  is  distinguished  by  a  character  of  truth  and 
simplicity,  which  begin  from  the  time  of  Nicolo  Pisano.  A 
certain  degree  of  restraint  is  observable  in  these  early  labors, 
but  they  are  simple  and  unpretending,  with  much  sweetness 
and  depth  of  feeling  in  the  expression. 


160 


SCULPTURE.. 


In  the  succeeding  century,  the  style  becomes  more  eleva- 
ted, though  equally  simple  and  true.  The  execution  is  bold, 
without  departing  from  nature. 

At  the  beginning  of  the  sixteenth  century  a  spirit  of  refine- 
ment, and  a  love  of  elegance  pervaded  Italy.  Florence  in- 
deed, from  her  peculiar  advantages,  soon  distanced  all  rivalry. 
Her  schools  were  open  to  all,  and  her  enlightened  patrons^ 
the  family  of  the  Medici  were  as  yet  but  merchants,  or  simple 
citizens. 

The  era  has  been  compared  to  that  of  Pericles,  and  Micha- 
el Angelo  was  the  Phidias  of  the  country  which  he  adorned 
with  his  labors.^  Michael  Angelo  commenced  his  career  as  an 
artist,  by  various  works  of  sculpture;  a  Sleeping  Cupid,  a  Bac- 
chus and  young  Fawn,  the  Colossal  David,  and  a  group  of  a 
sitting  Madonna,  bearing  the  dead  Christ  on  her  knees. 

The  character  of  Michael  Angelo's  sculpture  has  frequent- 
ly been  criticised  as  deviating  from  the  simple  purity  of  Gre- 
cian art;  but  his  style  is  lofty  and  original.  Force,  fire,  and 
enthusiasm  animate  every  limb  of  his  figures.  They  do  not 
exhibit  that  simplicity  and  repose  which  is  considered  essential 
to  the  beauty  of  the  art.  The  attitudes  are  frequently  con- 
strained, the  proportions  exaggerated,  the  forms  unnatural, 
and  seeming  to  possess  a  superhuman  energy. 

These  works  startle  and  astonish,  but  do  not  delight  us. 
Still  they  are  entitled  to  the  first  place  among  the  productions 
of  modern  sculpture.  The  tombs  of  the  Medici  exhibit  his 
style,  with  all  its  faults  and  its  wonders.    The  pensive  sitting 

*  For  an  account  of  Michael  Angelo's  Life,  we  refer  to  the  History  of 
Painting. 


SCULPTURE. 


161 


figure  of  Lorenzo  de  Medici  is  freer  from  the  former  than 
most  of  his  other  works.  His  recumbent  statues  of  Daybreak 
and  Night,  in  the  same  chapel,  are  mysterious  and  grand,  and 
worthy  of  the  painter  of  the  Last  Judgment. 

The  Moses,  of  Michael  Angelo,  on  the  tomb  of  Julius 
II.  at  Rome,  is  a  matchless  performance.  Its  prototype 
is  to  be  found  neither  in  art  nor  nature.  We  behold  an  awful 
and  commanding  being,  who  strikes  us  with  wonder,  but  fails 
to  inspire  us  with  interest.  It  is  one  of  the  best  proofs  of  the 
singular  imagination  of  this  extraordinary  artist. 

Torrigiano  was  a  cotemporary  of  Michael  Angelo,  to  whom 
the  English  are  indebted  for  the  monument  of  Henry  VII. 
in  Westminster  Abbey,  finished  in  1510.  Michael  Angelo 
bore  all  his  life  the  mark  of  a  severe  blow  on  the  nose  given 
him  by  this  sculptor,  in  return  for  a  sarcastic  remark  made  by 
him  on  Torrigiano's  drawing,  when  they  were  both  young 
men,  studying  in  the  church  of  the  Carmelites. 

Benvenuto  Cellini,  in  his  own  Life,  gives  an  account  of  Tor- 
rigiano. He  describes  him  as  a  handsome  man,  with  an  ungov- 
ernable temper,  and  the  air  of  a  bravo,  continually  talking  of 
his  feats  among  the  hears  of  Englhhmen,  with  whom  he  had  re- 
sided. 

His  death  happened  in  15'22,  and  in  a  melancholy  manner. 
Having  gone  to  Spain,  he  was  employed  b)  the  Duked'Arcas, 
to  execute  a  Madonna  and  infant  Christ  in  marble.  When  the 
group  was  finished,  the  Duke  sent  two  lackeys  loaded  with 
money  to  defray  the  purchase,  and  to  bring  home  the  work. 
When  the  bags  were  opened,  they  were  found  to  contain  noth- 
ing but  brass  maravedis,  amounting  only  to  the  small  sum  of 
thirty  ducats.    The  disappointment  so  enraged  Torrigiano, 


SCULPTURE. 


that  he  took  his  mallet,  broke  the  image  in  pieces,  and  dismiss- 
ed the  lackeys  with  their  load  of  farthings.  The  grandee, 
enraged  at  the  insult,  impeached  him  before  the  Inquisition 
as  an  infidel  and  a  heretic.  He  was  condemned  to  lose  his 
life  by  torture;  and  to  avoid  the  horrors  of  the  execution,  he 
starved  himself  to  death  in  prison. 

Among  the  cotemporaries  of  Michael  Angelo,  were  Baccio 
Bandinelli,  born  at  Florence  in  1487,  an  eminent  sculptor,  but 
who  is  accused  of  having  destroyed,  from  jealousy,  the  cartoons 
of  Michael  Angelo  and  Leonardo  da  Vinci;  Sansovino,  who 
presided  with  celebrity  over  the  art  at  Venice,  and  various 
others  of  considerable  eminence. 

Raphael  di  Monte  Lupo  was  his  favorite  pupil  and  assistant  ; 
^nd  Danti  his  closest  imitator.  John  of  Bologna,  a  Frenchman 
by  birth,  was  his  most  eminent  scholar,  and  famous  for  the 
grace  and  delicacy  of  his  '  Venus  coming  from  the  Bath.' 

Benvenuto  Cellini  was  born  at  Florence  in  1500,  and  died 
in  1570.  He  was  a  painter,  goldsmith  and  sculptor.  His 
group  of  Perseus  and  and  Medusa  is  highly  esteemed. 

Propertia  Rossi  is  one  of  the  few  female  names  that  we  meet 
with  among  the  sculptors  of  this  period.  She  was  famous  for 
her  bust  of  Count  Guido,  and  two  marble  angels  in  the  church 
of  St.  Petronia.    She  died  in  1530. 

At  the  close  of  the  sixteenth  century,  the  genius  and  prin- 
ciples of  Michael  Angelo  extended  their  influence  over  the 
whole  of  Europe,  though  beyond  the  confines  of  Italy,  the  art 
had  made  little  progress. 

Even  there,  for  the  last  thirty  years,  the  art  had  been  on  the 
decline,  and  the  seventeenth  century  opened  with  few  favora- 
ble presages  for  sculpture. 


aCDLPTORE. 


CHAPTER  VIL 

Of  Bernini — His  st_yle — Cotemporary  artists — Gonelli — Rusconi — Zumbo — 
Transalpine  sculpture — Ot  the  first  Frenoh  sculptors — Pilon — John  of 
Bologna — Girardon  nnd  Pu^et — Their  different  styles  and  chief  works 
Succeeding  artists — Of  Spanish  sculpture — Of  Berruguese,  Fernandez 
and  others — of  German  sculpture — Chief  artists  in  Germany — Present 
state  of  the  art  there — Of  Canova — His  life  and  works — Beauties  and  de- 
fect of  his  style — Of  Thorwaldsen — Some  account  of  his  works  and  style 
— Present  state  of  the  art  in  Italy. 

A  CROWD  of  undistinguished  names  followed  the  dissolution 
of  the  great  Tuscan  school.  And  the  first  great  master  who 
appeared  after  this  era,  struck  into  a  new  path,  still  more  full 
of  error  than  his  predecessors.  Bernini  was  born  at  Naples 
in  1598.  His  powers  of  execution  were  wonderful,  but  his  style 
was  in  general  affected  and  unmeaning.  He  considered  the 
ancient  simplicity,  poverty  and  meanness.  The  compositions 
of  Michael  Angelo  more  forcible,  but  too  severe.  He  there- 
fore tried  to  introduce  a  third  style,  in  pursuit  of  which  he 
carried  the  art  still  farther  from  all  that  is  simple  and  true  in 
nature. 

His  object  was  to  produce  effect,  by  startling  attitude,  forc- 
eel  expression,  and  voluminous  drapery.  His  Apollo  and  Daph- 
ne are  his  best  works,  which  are  very  numerous.  Bernini 
died  in  1680.  Among  his  contemporaries  were  Algard  and 
Fiammingo,  both  sculptors  of  merit.  Gonnelli,  surnamed  the 
blind  man  of  Cambassi  (the  name  of  his  native  town  in  Tusca- 
ny) executed  several  figures  in  terra  cottn  after  losing  his  sight 
at  the  early  age  of  twenty.  His  statue  of  Cosmo,  First  Grand 
Duke  of  Tuscany,  was  made  after  he  was  blind. 


164 


SCUI/PTURC. 


Camillo  Rusconi,  born  at  Milan,  1658,  was  the  next  sculptor 
of  eminence  after  Bernini.  H«  followed  the  principles  of  that 
artist,  but  his  talents  were  inferior,  and  in  his  hands  the  art  de- 
clined still  more  rapidly.  Zumbo  was  another  Italian  artist,  who 
executed  his  statues  in  colored  wax.  His  celebrated  work  is  La 
Corruzione,  executed  for  the  Grand  Duke  of  Tuscany. 

It  consists  of  five  figures,  exhibiting  a  dying  man  and  four 
decayed  corpses.  They  are  shocking  from  their  truth  and  cor- 
rectness.   Zumbo  died  in  1701. 

During  the  time  that  has  elapsed.  Transalpine  sculpture  is 
scarcely  worthy  of  notice.  The  first  eminent  French  sculptor 
appears  to  have  been  Jean  Goujon,  who  in  1550  completed 
the  celebrated  Fountain  of  the  Nymphs.  Jean  Cousin,  his 
cotemporary,  executed  several  works  which  have  much  delica- 
cy and  grace,  but  little  strength  or  correctness. 

The  works  of  John  Pilon  were  more  remarkable  for  energy 
than  for  simplicity  and  truth.  Towards  the  conclusion  of  this 
century,  John  of  Bologna  introduced  the  principles  of  Michael 
Angelo  into  France.  He  is  generally  reckoned  an  Italian 
sculptor,  though  born  at  Douay. 

His  Jupiter  Pluvius  was  a  colossal  statue,  so  large  that  with- 
in the  head  is  a  capacious  pigeon-house,  and  in  the  hollow  of  the 
trunk  a  grotto  adorned  with  shells  and  fountains.  He  died  in 
1608.  His  numerous  pupils  continued  his  style  throughout 
France,  until  the  reign  of  Louis  XIV. 

Of  this  school,  two  artists,  Girardon  and  Puget,  claim  to  be 
the  head.  The  former  was  an  artist  of  great  merit.  He 
was  born  at  Troyes  in  Champagne  in  1630.  His  manner 
of  design  with  a  degree  of  hardness  is  yet  noble,  and  though 


SCULPTURE. 


165 


Cold,  more  correct  than  that  of  his  cotemporaries.  The  mau- 
soleum of  Richelieu,  in  the  church  of  the  Sorbonne  at  Paris, 
and  his  equestrian  statue  of  Louis  XIV.,  are  his  two  first  works. 

Puget,  though  very  opposite  to  Girardon  in  style,  was 
the  favorite  of  his  countrymen,  who  are  fond  of  comparing 
him  with  Michael  Angelo.  He  was  born  at  Marseilles  in 
1662,  and  in  his  fiery,  energetic  manner,  is  not  dissimilar  to  the 
great  Florentine  master;  but  his  expression  is  studied,  his 
science  inaccurate,  and  his  forms  want  both  grace  and  noble- 
ness. 

His  best  works  are  the  statue  of  Milo,  placed  in  the  Park 
at  Versailles;  his  Alexander  before  Diogenes;  and  his  last 
work,  which  was  left  unfinished  and  is  now  at  Marseilles,  rep- 
resenting the  plague  of  Milan.    He  died  in  1694. 

The  succeeding  artists  followed  his  style  more  generally 
than  that  of  Girardon.  The  names  of  Le  Gros,  Theodon, 
Le  Pemtre,  Desgardins,  Coyseveux,  Vancleve,  the  two 
Coustous  and  Bouchardon,  are  among  the  most  distinguished 
of  those  artists  who  flourished  in  France  at  the  close  of 
the  seventeenth,  and  during  the  early  part  of  the  eighteenth 
century.  The  French  sculptors  of  the  present  day  are  more 
distinguished  for  science,  than  either  for  feeling  or  invention. 
Their  works  have  the  correct  symmetry  and  proportions  of  the 
Grecian  statues,  without  possessing  either  their  sentiment  or 
expression. 

With  regard  to  Spanish  art,  Bermudez,  the  historian,  enu- 
merates a  splendid  list  of  native  sculptors  from  the  com- 
mencement of  the  sixteenth  century.  But  in  this  he  has 
shown  too  much  national  partiality,  and  has  ranked  as  mas- 


166 


ters  those  whose  names  are  little  known,  except  as  having 
contributed  to  adorn  the  churches  of  Spaih. 

Berruguete,  a  pupil  of  Michael  Angelo,  appears  to  have 
founded  the  first  regular  school  in  that  country,  of  which  Paul 
de  Cespides  was  the  chief  ornament.  This  eminent  man  was 
born  at  Cordova,  and  was  admirable  for  the  elegance  and  pu- 
rity of  his  drawing,  as  well  as  for  the  noble  air  of  his  figures. 

Fernandez,  at  the  beginning  of  the  17th  century,  followed  in 
the  style  of  Michael  Angelo,  and  embellished  Valladolid  and 
other  cities  with  his  works.  Pujol  of  Catalonia  was  admirable 
for  his  draperies;  Montaguez,  for  his  expressive  and  natural 
attitudes. 

In  the  18th  century  we  hear  of  Salvador,  surnamed  the  Ro- 
man, who  died  in  1776,  and  among  a  crowd  of  inferior  names, 
of  Philip  di  Castro,  who  contributed  greatly  to  the  improve- 
ment of  sculpture  in  Spain.    He  died  in  1775. 

Before  the  17th  century,  we  hear  little  worthy  of  notice  in 
German  sculpture.  Germany  is  even  now  more  celebrated 
for  good  writers  on  the  philosophy  of  the  art,  than  for  artists 
who  practised  it.  Still  the  genius  of  the  nation  seems  highly 
favorable  to  its  progress  there;  though  at  present,  it  lan- 
guishes for  want  of  encouragement. 

RauchmuUer  and  Messerschmidt  were  artists  of  eminence  at 
Vienna.  Schluter,  of  Hamburg,  practised  the  manner  of 
Michael  Angelo.  Leygebe,  who  died  in  1683,  was  famous  for 
his  little  equestrian  statues  formed  out  of  ingots  of  iron.  There 
were  other  German  artists  of  note  living  at  the  commence- 
ment of  the  present  century — among  these,  Nahl,  Sonnens- 
chein,  and  Ohnmacht;  with  the  two  Shadofs,  the  younger  of 


SCULPTURE. 


167 


whom  is  celebrated  for  his  exquisite  and  simple  statue  of  the 
Spinning  Girl.  It  is  probable  that  sculpture  will  flourish  in 
Germany,  if  the  artists  will  adhere  more  to  nature  and  simpli- 
city, and  avoid  that  striving  for  striking  effect  which  has  dis- 
figured their  best  productions. 

We  have  already  observed  the  rapid  decline  of  sculpture  in 
Italy,  in  the  hands  of  those  artists  who  followed  the  false  taste 
of  Bernini,  with  a  genius  inferior  to  their  master.  Before  the 
middle  of  the  18th  century,  truth,  feeling,  and  beauty  had 
disappeared  from  the  labors  of  the  sculptor. 

It  was  in  the  midst  of  this  corruption  of  taste,  that  the  ge- 
nius of  Canova,  appearing  the  brighter  from  the  universal 
darkness  that  surrounded  it,  rose  superior  to  every  obstacle, 
and  arrested  the  attention  of  Modern  Europe.  This  distin- 
guished artist,  equally  respectable  for  talents  and  virtues^  was 
born  in  1757,  in  Possagno,  in  the  Venetian  territory. 

In  liis  youth  he  followed  the  humble  occupation  of  a  stone- 
cutter. At  the  age  of  fourteen  he  went  to  Venice,  where, 
through  the  benevolence  of  the  fathers  of  a  convent,  he  was 
enabled  to  set  up  a  work-shop.  After  a  hard  struggle  with 
poverty,  which  lasted  for  fifteen  years,  he  produced  his  first 
great  work,  the  monument  of  Ganganelli,  in  St.  Peter's  ;  a 
wonderful  performance  for  its  vigor  and  correctness;  and  yet 
more  for  its  departure  from  the  false  taste  of  the  age. 

A  series  of  two  hundred  compositions  followed  this  noble 
production;  works  which  adorn  Europe,  and  might  have  Ibrm- 
ed  the  labors  of  a  generation.  They  may  be  divided  into 
three  classes;  heroic  subjects;  compositions  of  softness  and 
grace  ;,  and  monumental  erections  and  relievos. 


188 


SCtJLi»tUR^. 


Some  have  denied  his  superiority  in  the  first  of  these  depart- 
ments. They  have  considered  him  as  excelling  in  the  beau- 
tiful, rather  than  in  the  grand;  yet  in  many  of  his  groups  and 
single  statues,  he  has  attained  the  loftiest  aims  of  sculpture. 
His  Perseus  is  remarkable  for  manly  and  vigorous  beauty  of 
form.  His  Pugilists  is  one  of  the  most  classical  of  modern 
art.  His  Theseus,  Hercules,  Ajax,  and  Hector  with  many 
other  statues  belonging  to  the  heroic  style,  are  all  remarkable 
for  their  boldness  yet  delicacy  of  execution,  as  well  as  for 
their  learned  design. 

In  the  second  class,  however,  are  the  most  beautiful  compo- 
sitions of  Canova.  His  Venus  recumbent,  his  Nymph,  and 
Cxipid,  are  exquisite  specimens  of  beauty  and  grace.  But 
his  female  forms  want  dignity,  and  when  the  Venus  de  Medi- 
ci is  compared  with  the  Venus  of  Canova,  we  are  forcibly 
struck  with  the  superiority  of  the  former. 

Canova's  Venus  stands  in  the  centre  of  the  boudoir  of  the 
Pitti  Palace  at  Florence,  which  is  brilliantly  illuminated,  and 
lined  with  mirrors,  to  reflect  her  figure  in  ail  directions.  Her 
attitude  is  constrained,  and  wanting  in  the  grace  and  simpli- 
city which  distinguish  her  Grecian  prototype. 

In  his  monumental  works,  Canova  displays  all  the  excel- 
lence of  his  genius.  Of  his  architectural  works,  adorned  with 
colossal  figures,  the  most  magnificent  specimens  are  the  tombs 
of  the  Popes  at  Rome,  of  Alfieri  at  Florence,  and  of  the  Arch- 
duchess Maria  Christina,  at  Vienna. 

His  tablets  in  relievo  are  eminently  beautiful,  and  his  grand 
relievo  of  the  O'Hara  family  mourning  over  the  funeral  couch 
of  the  deceased  wife  and  daughter,  equal  anything  in  the 
whole  compass  of  the  art. 


SCULPTUftE> 


169 


The  only  defect  of  Canova  is  a  meagreness,  and  want  of 
vigor  in  his  female  statues.  His  great  perfection  consists  in 
his  having  discovered  the  happy  medium  between  the  un- 
moved serenity  of  the  antique  statues,  and  the  marked  and 
striking  attitudes  of  Michael  Angelo's  figures. 

But  it  is  not  in  himself  and  in  his  works  alone,  that  Canova 
should  be  viewed.  It  is  in  reference  to  the  age  in  which 
he  lived,  and  the  state  of  degradation  in  which  he  found  the 
art.  Wher|  we  recollect  this,  and  the  elevated  condition  in 
which  he  left  it,  we  must  agree  that  no  other  artist  has  con- 
tributed so  eminently  to  the  progress  of  sculpture.  Canova 
died  in  1823;  and  there  was  scarcely  an  Italian,  however 
elevated  or  mean  his  station,  whether  among  the  noble  of  the 
land,  who  were  his  companions,  or  the  learned  who  admired 
his  works,  or  the  poor  to  whom  he  was  a  generous  patron, 
who  did  not  mourn  his  death  as  a  personal  affliction. 

Thorwaldsen  the  Dane  now  occupies  public  notice,  as  the 
chief  master  of  the  modern  school.  This  distinguished 
artist  was  born  at  Copenhagen,  in  1771.  His  designs  are 
remarkable  for  their  freshness  and  originality,  guided  by  the 
purest  taste.  His  genius  is  forcible,  but  it  is  perhaps  more 
striking  from  its  peculiarity  than  from  its  real  excellence. 

His  works  are  the  creations  of  a  fancy  seeking  for  effect  in 
singular  combinations,  rather  than  in  general  principles. 
His  works  are  remarkable  for  simplicity  and  imposing  expres- 
sion, but  his  simplicity  is  sometimes  without  grace,  and  his 
severity  without  refinement. 

Yet  there  are  compositions  of  Thorwaldsen's  which  it  is 
difficult  to  criticise ;  such  for  example  as  his  two  exquisite 
12 


170 


SCULPTURE. 


pieces  of  Night  and  Aurora,  his  Venus  Victrix,  which  ap^ 
proaches  the  Venus  de  Medicis  more  than  any  modern  stat- 
ue,— his  simple  and  natural  representation  of  a  Shepherd, — or 
his  Triumph  of  Alexander,  one  of  the  grandest  compositions 
in  the  world. 

His  ideas  are  singular;  and  his  powers  of  fancy  frequently 
surpass  those  of  execution.  As  an  individual  artist,  he  is 
worthy  of  the  eminent  station  which  he  holds  in  Europe ;  but 
Thorwaldsen  will  have  little  influence  upon  the  state  of  the 
arts.  He  stands  alone,  depending  upon  the  powers  of  his 
original  genius, — but  he  has  no  imitators. 

The  artists  in  Italy  almost  universally  copy  the  style  of 
Canova;  but  with  more  of  the  failing  to  which  his  works  in- 
clined,— elaborate  grace.  And  it  may  be  generally  remarked, 
that  the  imitators  of  a  great  master,  in  their  desire  of  modell- 
ing themselves  upon  his  style,  exaggerate  his  defects,  and 
turn  that  which  before  was  only  on  the  verge  of  error,  into  a 
positive  blemish. 


SCUL1*TURE. 


171 


CHAPTER  VIII. 

15f!ect  of  the  Roman  (>onquest  upon  the  Arts  in  Britain— Statue  of  King 
Cadwallo — Roman  Antiquities  in  Britain — State  of  Sculpture  at  the 
period  of  the  Saxon  Conquest—  Of  the  Crusades — Chief  work  of  Statuary 
from  that  period  till  the  reign  of  Homy  the  VIII. — Birth  of  Grinling 
Gibbons — Account  of  his  life  and  various  work  -  ,  with  the  state  of  Archi- 
tecture at  that  period — Of  Caius  Gabriel  Gibber— His  style  of  sculp- 
ture— His  statuary  at  Cliatsworth — His  fig-ures  of  Madness  and  Melan- 
choly— Of  Louis  Francis  Roubilliac — His  statue  of  Handel,  and  other 
works — His  monument  to  Mrs.  Niorhtingale — His  style  of  sculpture — 
His  character  and  death— Joseph  Wilton — His  life  and  works. 

AMO^^G  the  ancient  Britons  who  lived  in  huts,  and  dressed  in 
skins,  little  progress  in  the  art  of  sculpture  could  be  expected. 
Some  rude  coins  have  been  handed  down  to  us,  wliich  they 
had  probably  copied  from  Tyrian  or  Carthaginian  models,  as 
they  had  a  commercial    intercourse  with  these  countries. 

When  the  Romans  conquered  the  island,  the  natives  imi- 
tated their  conquerors  by  building  temples,  baths,  and  many 
other  magnificent  structures,  adorned  with  statues,  groups, 
and  various  sculptures.  Two  bronze  lieads  of  INIinerva  and 
Diana  found  at  Bath,  are  specimens  of  British  sculpture  dur- 
ing the  Roman  dominion. 

For  200  years  after  the  departure  of  the  Romans,  the 
Britons  continued  to  cast  great  works  in  bronze.  An  old 
English  author  tells  us  that  *  King  Cadwallo  being  buried  in 
St.  Martin's  church,  his  image  ,^reat  and  terrible,  triumphant- 
ly riding  on  horseback,  artificially  cast  in  brass,  was  placed 
on  the  western  gate  of  the  city,  to  the  further  fear  and  terror 
of  the  Saxons.'  This  statue  was  probably  more  barbarous 
and  terrible  than  truly  great;  for  when  Cadwallo  died  in  677. 
12* 


172 


SCULPTURE. 


the  Goths,  Franks,  and  other  barbarians,  had  nearly  extin- 
guished the  liberal  arts  in  Europe. 

Of  the  Roman  altars  and  tablets,  found  in  Britain,  the 
workmanship  is  extremely  rude.  They  are  carved  in  native 
stone.  Most  of  the  mosaics  represent  Bacchus,  or,  Orpheus 
playing  on  a  lyre.  Fragments  of  cups  have  been  found  in 
England,  adorned  with  basso-relievos,  beautifully  modelled, 
of  Mercury,  Apollo,  Venus,  and  other  heathen  deities. 

The  Saxons  destroyed  the  works  of  Roman  grandeur  in 
Britain;  and  erected  clumsy  imitations  of  the  Roman  build- 
ings which  they  had  ruined.  Immediately  after  the  Norman 
conquest,  figures  of  the  deceased  were  carved  in  bas-relief, 
on  their  grave-stones.  Examples  of  these  may  be  seen  in  the 
cloisters  of  Westminster  Abbey,  and  in  the  statues  of  St. 
Oswald  and  Bishop  Wulstan  in  Worcester  Cathedral. 

When  the  Crusaders  returned  from  the  Holy  War,  they 
began  to  decorate  the  architecture  with  rich  foliage,  and  to 
introduce  statues  against  the  columns.  Specimens  of  these 
may  be  seen  in  Rochester  Cathedral. 

In  1242,  Bishop  Jocelyne  rebuilt  the  cathedral  of  Wells, 
adorned  with  alto-relievos  of  the  Creation,  the  Deluge,  &c.; 
statues  of  kings,  queens,  and  saints — and  representations  of 
the  Last  Judgment,  with  groups  of  angels  and  apostles  attend- 
ing upon  our  Saviour.  ^ 

The  statues  are  ill  designed,  and  deficient  in  principle, 
and  much  of  the  sculpture  is  rude  and  severe;  yet  in  many 
parts  there  is  a  beautiful  simplicity,  sentiment  and  grace, 
greatly  surpassing  more  modern  productions.  Nicolo  Pisano, 
he  restorer  of  Italian  sculpture,  was  exercising  the  art  in  Italy 
at  the  period  during  which  this  great  work  was  executed. 


SCULPTURE. 


173 


Edward  I.  raised  magnificent  stone  crosses  to  the  memory 
of  his  queen,  Eleanor.  Three  of  them  still  remain,  in  Eng- 
land, and  the  statues  have  much  grace  and  delicacy.  They 
partake  of  the  character  of  Pisano's  school,  and  were  probably 
executed  by  some  of  his  scholars. 

In  the  reign  of  Edward  III.,  painting,  sculpture,  and 
architecture,  were  greatly  encouraged.  The  profusion  of 
historical  sculpture,  and  rich  foliage,  which  adorn  the  cathe- 
drals of  York  and  Gloucester,  exhibit  beautiful  specimens  of 
the  art  at  that  period. 

The  monuments  of  Aylmer  de  Valence,  and  Edmund  Crouch- 
back  in  Westminster  Abbey,  are  also  splendid  examples  of 
English  art.  The  solemn  repose  of  the  principal  statue,  sur- 
rounded by  light  arches,  pinnacles,  and  spires,  ornamented 
with  rich  and  profuse  foliage;  the  delicacy  of  thought  in  the 
group  of  angels  bearing  the  soul  to  heaven,  the  tender  con- 
cern expressed  in  the  statues  ranged  round  the  basement,  for- 
cibly arrest  our  attention,  and  elevate  our  thoughts  to  higher 
scenes. 

But  the  greatest  display  of  sculpture,  left  by  former  ages, 
for  admiration,  is  the  Lady  Chapel  of  Westminster  Abbey, 
built  by  Henry  VII.,  to  receive  his  tomb.  The  number  of 
statues  without  and  within  this  chapel,  formerly  amounted  to 
three  thousand.  Torrigiano,  an  Italian  sculptor,  assisted  ia 
the  formation  of  the  tomb,  but  the  statues  are  native  produc- 
tions. 

In  1538,  Henry  VIII.  issued  an  edict  for  the  destruc- 
tion of  images;  and  in  1541,  in  the  reign  of  Edward  VI., 
an  order  to  this  effect  was  still  more  strictly  enforced.  Yet, 


174 


SCULPTURE. 


during  the  abasement  of  native  art,  many  eminent  sculptors 
prevented  its  total  decline,  and  among  these,  the  name  of 
Stone  may  be  particularly  mentioned. 

The  first  name  of  eminence  in  British  sculpture,  is  that  of 
Grinling  Gibbons,  born  about  1652, — it  is  supposed  in  Holland, 
of  English  parents.  Among  the  first  specimens  of  his  works 
in  London,  were  the  capitals,  cornices,  and  eagles,  of  Dorset- 
garden  Theatre. 

Chance  having  brought  him  acquainted  with  John  Evelyn, 
he  was  introduced  by  that  accomplished  writer  to  king  Charles 
I.,  who  gave  the  artist  a  place  in  the  Board  of  Works,  and 
employed  him  in  ornamenting  his  palaces,  and  also  in  the 
chapel  at  Windsor,  where  the  simplicity  of  the  foliage  executed 
by  Gibbons,  has  been  much  admired. 

In  those  days,  the  walls  and  projections  of  houses  were 
everywhere  ornamented  with  rich  architecture,  borders  and 
entablatures  of  flowers,  leaves,  and  fruit,  mingled  with  figures 
of  angels,  birds,  and  beasts.  All  was  rich  and  indiscriminate 
profusion,  and  the  sober  and  severe  decoration  of  the  Greek 
temples  was  entirely  forgotten. 

The  pedestal  of  king  Charles'  statue  at  Charing  Cross, 
carved  by  Gibbons,  is  considered  admirable  for  the  beauty  of 
its  proportions,  and  the  boldness  of  the  touch.  Among  his 
other  works,  were  a  magnificent  tomb  for  Viscount  Camden, 
ornamented  with  figures  of  him  and  his  lady,  and  bas-reliefs  of 
their  children. 

But  his  chief  excellence  lay  in  ornamental  carving,  rather 
than  in  sculpture.  The  most  exquisite  specimens  of  his  talents 
are  at  Chalsworth,  the  seat  of  the  Duke  of  Devonshire,  where 


SCULPTURE. 


175 


the  birds  seem  endued  with  life,  and  the  flowers  appear  to  spring 
beneath  the  eye. 

Walpole  observes  that  *  ther^  is  no  instance  of  a  man  before 
Gibbons,  who  gave  to  wood  the  loose  and  airy  lightness  of 
flowers,  and  chained  together  the  various  productions  of  the 
elements,  with  a  free  disorder  natural  to  each  species.' 

In  1714,  Gibbons  was  appointed  Master  Carver  in  Wood, 
to  George  I.,  and  died  on  the  third  of  August,  1721. 

Caius  Gabriel  Gibber,  the  forerunner  of  a  more  poetical 
style  of  sculpture,  was  the  son  of  the  cabinet-maker  of  the  king 
of  Denmark.  He  was  born  at  Hensberg  in  Holstein,  in  1630. 
He  early  discovered  such  talent  for  sculpture,  that  the  king  of 
Denmark  enabled  him  to  pursue  his  studies  in  Rome.  Hav- 
ing gone  to  London,  a  short  time  before  the  Revolution,  he 
worked  for  some  time  under  Stone,  the  sculptor.  His  residence 
at  Rome  had  inspired  him  with  a  classic  taste,  and  having  set 
up  as  sculptor  for  himself,  he  employed  himself  in  the  execu- 
tion of  allegorical  statues. 

Chatsworth  was  adorned  with  these  productions,  and  amidst 
the  natural  beauties  of  that  magnificent  residence  were  plen- 
tifully scattered  the  deities  and  demi-gods  of  Gibber,  all  cut  in 
freestone.  The  climate  of  England  was  not  very  favorable  to 
this  taste.  Venus  and  the  graces,  bare-footed  nymphs,  and 
goddesses  in  light  drapery,  must  have  looked  sadly  forlorn  and 
out  of  place,  when  the  wind  howled  over  the  leafless  branches, 
and  the  ground  was  covered  with  snow.  Few  of  these  works 
now  remain,  excepting  those  which  are  attached  to  the  build- 
ing. 

The  works  on  which  Gibber's  claim  to  original  genius  entire- 


176 


SCULPTURE. 


iy  depend,  are  his  far-famed  figures  of  Madness  and  Melan- 
choly, carved  for  the  entrance  to  Bedlam. 

They  who  see  these  wonderful  figures  for  the  first  time  are 
entirely  overpowered  by  admiration  and  awe.  They  represent 
melancholy  and  madness  in  a  manner  at  once  poetical  and  ter- 
rible. They  were  carved  in  Portland  stone,  and  are  now  re- 
moved to  the  new  madhouse  in  St.  George's  Fields.  Gibber 
died  in  1700,  aged  seventy. 

Louis  Francis  Roubilliac,  though  a  Frenchman  by  birth, 
is  known  to  the  world  through  his  English  works  alone,  and 
is  therefore  ranked  among  the  British  sculptors.  He  was 
born  at  Lions,  in  1695,  and  came  to  London  in  1720. 

There  he  at  first  worked  as  journeyman  to  an  engraver,  of 
the  name  of  Garter.  He  happened  one  evening  on  his  return 
from  Vauxhall  to  pick  up  a  pocket-book,  containing  a  consid- 
erable number  of  bank-notes.  He  immediately  made  in- 
quiries as  to  the  owner,  who  proved  to  be  Sir  Edward  Wal- 
pole,  and  who  was  so  pleased  with  his  integrity,  that  he 
became  his  firm  patron  through  life.  The  first  statue  that 
can  with  certainty  be  attributed  to  Roubilliac,  is  a  statue  of 
Handel.  He  has  exhibited  that  eminent  composer  in  a  state 
of  rapturous  meditation,  when  the  music  has  fully  wakened  up 
bis  soul. 

Every  feature  of  his  face  is  convulsed  with  delight.  His 
very  clothes  seem  infected  with  his  agitation.  His  waistcoat 
is  half  unbuttoned,  his  hair  in  disorder.  There  is  a  pleasing 
air  of  life  and  reality  about  the  figure,  even  while  it  oflTends 
against  severe  taste. 

The  figure  of  Eloquence  in  his  monument  to  the  memory  of 


SCULPTURE. 


177 


John,  Duke  of  Argyle,  drew  forth  a  warm  tribute  of  praise 
from  Canova.  The  sculpture  of  the  monument  has  been 
blamed  for  being  too  vigorous  and  active,  and  as  sinning  in 
this  respect  against  the  ancient  taste. 

The  most  celebrated  of  his  numerous  works  is  the  monu- 
ment of  Mrs.  Nightingale,  in  Westminster  Abbey.  Mrs. 
Nightingah)  was  of  a  noble  family,  young,  beautiful  and 
beloved.  She  died  in  the  bloom  of  youth,  deeply  lamented 
by  her  husband.  The  design  of  the  sculptor,  in  represent- 
ing these  circumstances,  was  at  once  striking  and  strange. 
No  one  probably  has  ever  looked  on  the  scene  unmoved. 

The  dying  woman  lies  on  her  couch,  near  which  her  hus- 
band stands.  Death  appears  at  an  iron  door,  aiming  a  dart 
against  his  victim.  The  husband  raises  his  arm  to  ward  off 
the  blow.  This  union  of  shadow  and  substance  is  an  error 
and  the  figure  of  Death  is  ill  imagined;  yet  the  monument 
is  a  noble  performance.  The  right  arm  and  hand  of  the 
dying  figure  are  considered  the  perfection  of  fine  workman- 
ship. 

Life  seems  slowly  receding  from  her  tapering  fingers,  and 
the  eyeless  sockets  of  Death  seem  flashing  with  a  malignant 
joy.  In  all  the  works  of  Roubilliac  there  is  a  visible  careful- 
ness of  finish,  which  has  been  much  praised,  but  little  followed. 
He  spared  no  labor  on  his  works,  and  if  they  are  wanting  in 
sedate  and  tranquil  beauty,  they  have  much  elegance  of 
Action.  If  nature  and  simplicity  are  sometimes  sacrificed, 
still  there  is  much  poetic  energy. 

He  was  a  singular  man,  and  constantly  occupied  with 
thoughts  of  his  profession.    If  he  happened  to  be  in  company 


178 


SCULPTURE. 


with  a  lady  whose  hands  were  beautiful,  or  whose  ear  was 
well  shaped,  he  has  been  known  to  astonish  her  by  starting 
up  with  the  exclamation,  '  Madam,  I  must  have  your  hand.' 
*  Madam,  I  shall  have  your  ear! ' 

Roubilliac  died  on  the  sixteenth  of  January,  1762,  and  was 
attended  to  the  grave  by  Hogarth  and  Reynolds, 

Joseph  Wilton,  born  in  London  in  1722,  was  a  sculptor  of 
little  original  merit,  yet  who  rose  to  greater  reputation  than 
many  men  of  superior  talents.  He  was  the  first  British 
sculptor  who  went  through  a  regular  course  of  academic 
study.  His  father,  who  was  a  plasterer,  seeing  his  strong 
inclination  for  sculpture,  placed  him  under  the  tuition  of  an 
artist  of  Brabant,  named  Laurent  Delvaux.  Some  years  after, 
the  young  Wilton  removed  to  Rome,  where  he  gained  the 
Jubilee  Gold  Medal  of  the  Roman  Academy,  given  by  Pope 
Benedict  XIV. 

Having  spent  e-ight  years  in  Italy,  where  he  made  many 
copies  af  the  antique  statues,  he  returned  to  London,  where 
he  was  patronized  by  the  Duke  of  Richmond,  and  employed 
in  directing  the  Richmond  Gallery.  For  many  centuries^ 
sculpture  had  been  strangely  united  with  other  professions; 
and  charges  for  carvin<T  statues  were  mixed  with  tailors'  bills 
and  goldsmiths  accounts.  Wilton,  among  his  other  avocations, 
was  appointed  State  Coach  Carver  to  King  George  III. 

His  first  public  work  was  his  monument  of  General  Wolfe, 
in  Westminster  Abbey,  which  is  crowded  with  a  confused 
multitude  of  figures  and  emblems.  There  is  little  of  original 
thought  in  the  composition;  which  is  only  remarkable  for  a 
bas-relief  of  great  beauty,  representing  the  march  of  the 
British  troops  from  the  river  bank  to  the  heights  of  Abraham. 


SCULPTURE. 


179 


His  most  pleasing  works  were  his  copies  of  antique  statues, 
and  among  his  best  busts,  were  those  of  Chesterfield,  Chatham, 
and  Cromwell.  He  acquired  a  large  fortune,  kept  a  splendid 
house,  and  lived  ostentatiously. 

He  is  recorded  as  having  been  a  tall,  portly,  and  handsome 
man;  an  agreeable  companion,  and  a  warm  fuend.  But  as  a 
sculptor,  he  scarcely  deserved  the  celebrity  he  attained  in  his 
life-time.  His  groups  arc  confused  mobs;  his  faces  want  dig- 
nity, and  his  attitudes,  repose.    He  died  in  1803. 


CHAPTER  IX. 

Of  Banks — His  style  of  sculpture — His  chief  works — Joseph  Nollekins — 
An  account  of  his  life  and  chief  works — His  monuments,  groups,  statues, 
and  busts — His  last  visit  to  the  academy — His  death — Some  remarks  on 
his  style — Of  Joseph  Banks — His  first  works — Anecdote  concerning  him 
— His  statues  of  Johnson  and  Howard— Character  of  his  style — Its  mer- 
its and  defects. 

TnoMAs  Banks  was  an  artist,  who  devoted  his  whole  life  to 
the  study  of  works  of  a  poetic  order,  who  embodied  splendid 
images  of  Grecian  fable,  and  whose  aims  were  uniformly  lofly 
and  heroic.    He  was  born  in  1735. 

He  went  to  Rome  in  177-2,  at  a  period  when  that  city  over- 
flowed with  English,  both  artists,  and  gentlemen  of  taste  and 
fortune.  The  most  distinguished  of  these  was  Gavin  Hamil- 
ton, a  Scottish  painter,  who  had  for  many  years  stood  at  the 
head  of  art  and  taste  in  Rome,  and  who  assisted  the  young 
sculptor  both  with  his  advice  and  friendship. 


180 


SCULPTURE. 


Banks  devoted  himself  to  the  study  of  Grecian  sculpture, 
and,  after  practising  for  seven  years  in  Rome,  returned  to 
London,  where  his  classic  taste  was  not  sufficiently  appreciat- 
ed. He  therefore  went  to  Russia,  where  he  was  patronized 
by  the  Empress  Catharine;  but  the  subjects  on  which  she  em 
ployed  him  did  not  suit  his  talents  or  taste,  and  he  finally  set 
sail  again  for  his  native  land. 

His  first,  and  one  of  his  noblest  works,  was  the  mourning 
Achilles.  It  excited  universal  admiration.  The  sculptor 
was  proud  of  this  noble  work,  and  proceeded  to  remove  it  to 
the  exhibition  at  Somerset-House.  The  wagon  which  carried 
it  was  overturned,  and  the  statue  shivered  into  a  hundred 
pieces.  He  bore  this  misfortune  with  much  equanimity,  and 
as  it  was  in  plaster  of  Paris,  succeeded  in  re-uniting  the 
broken  pieces. 

One  of  his  most  beautiful  compositions  was  his  monument 
to  the  only  daughter  of  Sir  Brooke  Boothby.  She  was  six 
years  of  age,  and  is  represented  lying  asleep  on  a  low  couch. 
Her  cheek  reclines  on  a  pillow,  her  little  fevered  hands 
gently  rest  on  each  other.  The  delicate  feet  are  carelessly 
folded  together,  and  the  whole  appearance  is  as  if  the  child 
had  just  turned,  in  the  tossing  of  illness,  to  seek  a  cooler  placQ 
of  rest. 

This  touching  work  excited  a  great  sensation  at  Somerset- 
House.  Among  hundreds  who  crowded  to  view  it,  the  Queen 
and  the  Princesses  stood  looking  at  it,  till  they  were  affected 
to  tears. 

Among  all  his  noble  works,  none  spread  his  fame  wider 
than  this  simple  composition. 


SCULPTURE. 


181 


His  Andromache  lamenting  with  her  maidens  over  the 
body  of  Hector,  his  Venus  rising  from  the  sea,  and  a  Venus 
bearing  Eneas  wounded  from  the  battle,  are  all  splendid 
works.  Banks  earnestly  desired  to  introduce  a  more  poetic 
style  into  the  national  monuments  of  England, — to  do  for  Bri- 
tain what  the  sculptors  of  old  did  for  Greece.  But  the 
English  have  less  imagination  than  the  Greeks.  The  Hea- 
then religion,  however  beautiful,  must  to  the  moderns  appear 
absurd. 

Allegorical  figures  seldom  possess  much  interest;  and  still 
less  when  mingled  with  reality.  The  idea  of  Victory  crowning 
a  Navy  Captain  has  a  ludicrous  effect;  and  the  features  of  ^ 
British  sailor  placed  upon  an  antique  bust,  seem  equally  in- 
congruous. In  his  monument  to  Sir  Eyre  Coote,  there  is  a 
figure  representing  a  Mahratta  captive,  sitting  bound  beside  a 
heap  of  Asiatic  armor.  This  figure  is  praised  by  artists  for 
its  fine  anatomy,  and  by  every  one  for  its  expression. 

Banks  died  in  1805,  in  the  seventieth  year  of  his  age. 
Perhaps  had  he  turned  from  the  poetry  of  Greece  to  that  of 
England,  from  the  pages  of  Homer  to  those  of  Shakspeare, 
his  works  would  have  been  more  popular;  but  it  was  the  state 
of  the  age  and  not  the  fault  of  the  artist,  that  he  aspired  in 
vain  to  be  the  classic  sculptor  of  his  nation. 

Joseph  NoUekins  was  born  in  1737,  in  Dean  Street,  Lon- 
don. At  the  age  of  twenty-two  he  received  a  premium  from 
the  Society  of  Arts  for  a  group  of  figures  in  clay;  and  another 
aoon  after  for  the  model  of  a  Dancing  Fawn.  In  1760,  he 
proceeded  to  Italy  to  pursue  his  studies,  whcjre  he  was  patron- 
ised by  men  of  taste  and  wealth,  and  especially  by  Lord 
Yarborpugh,  an  enlightened  and  liberal  nobleman. 


!82 


SCULPTDRB. 


After  ten  years  of  profitable  study  in  Rome,  he  returned  to 
London,  where  he  formed  a  private  studio  for  himself,  a  shop 
for  assistants,  and  a  gallery  for  models.  He  was  admitted  a 
member  of  the  Academy  in  1771;  soon  after  he  had  present- 
ed that  society  with  a  fine  cast  from  the  Torso.  He  was  an 
eccentric  character,  and  was  remarkable  for  strange  fits  of 
saving  and  sordidness. 

He  modelled  the  bust  of  his  majesty,  George  III.,  and 
amused  his  royal  sitter  with  his  quaint  and  familiar  manner. 
He  also  made  a  good  bust  of  Doctor  Johnson.  Among  his 
groups  and  statues,  were  those  of  Bacchus,  Venus  taking 
off  her  sandal,  Venus  chiding  Cupid,  and  Cupid  and  Psyche. 
But  his  busts  were  better  than  his  antique  statues,  for  which 
he  wanted  loftiness  of  soul,  and  grandeur  of  idea. 

His  studio  was  a  fashionable  lounge  for  all  the  wit,  beauty, 
and  rank  in  London  ;  and  he  amused  his  female  sitters  by  his 
simple  bustling  manners  and  blunt  compliments,  which  how- 
ever were  sometimes  very  skilful.  '  Look  for  a  minute  the 
other  way;'  said  he  to  a  lady  with  a  squint;  'for  then  I 
shall  get  rid  of  that  slight  shyness  in  your  eye,  which  though 
not  unusual  in  life,  is  ungraceful  in  art.' 

Various  stories  are  related  of  the  frugality  and  domestic 
economy  of  Nollekens  and  his  wife,  a  woman  of  a  contracted 
mind,  and  whose  furious  jealousy  of  her  husband  occasioned 
many  disputes  in  their  household.  During  a  period  of  ten 
years,  Nollekens  exhibited  sixteen  busts,  five  statues,  and 
four  groups.  The  love  of  the  nation  at  this  period  for  bust 
sculpture  was  excessive. 

In  the  year  1808,  Nollekens  executed  above  fifty,  and 


SCULPTURE. 


m 


among  others,  his  celebrated  heads  of  Pitt  and  Fox,  and  that 
of  the  Prince  of  Wales,  which  has  much  simplicity  and  ele- 
gance. 

His  best  monumental  group  is  that  of  Mrs.  Howard,  of 
Corby  Castle,  who  is  represented  dying  with  Religion  by  her 
side,  and  a  beautiful  infant  lying  near  her. 

His  Venus  anointing  herself,  is  deficient  in  original  thought, 
and  propriety  of  action;  though  the  workmanship  of  the 
statue  is  fine.  The  Queen  of  Love  is  dropping  incense  on  her 
hair  from  a  bottle,  and  looking  aside.  Every  one  who  sees 
this  statue  observes  this  last  defect;  and,  that  in  pouring  out 
liquid,  her  eye  should  have  aided  her  hand. 

From  1810  to  1816,  he  modelled  his  last  and  most  valuable 
busts;  those  of  the  Duke  of  York,  Lord  Castlereagh,  Lord 
Erskine,  Lord  Liverpool,  Canning,  and  several  other  distin- 
guished persons.  When  Lord  Castlereagh  was  sitting  for  his 
bust,  he  threw  some  coals  on  the  fire  one  very  cold  day,  when 
the  sculptor  had  gone  to  fetch  his  materials.  *Oh!  my 
Lord,'  exclaimed  Mrs.  Nollekins,  *  I  don't  know  what  Mr. 
NoUekins  will  say!' — 'Tell  him,  my  good  lady,  to  put  them 
into  my  bill; '  said  the  Premier. 

In  1819,  he  paid  his  last  visit  to  the  Royal  Academy.  He 
was  carried  up  stairs  in  a  kind  of  sedan,  accompanied  by  his 
friend  Chantrey.  He  made  some  remarks  on  the  paintings,  at 
his  departure  gave  a  guinea  to  the  persons  who  helped  him 
into  his  coach,  and  bade  farewell  to  the  Academy  forever. 
He  was  then  eighty-two  years  old. 

He  died  in  1823,  leav  ng  behind  him  a  fortune  of  two  hun- 
dred thousand  pounds,  which  had  excited  the  speculation  and 


184 


■CULPTURE. 


procured  him  the  interested  attentions  of  numerous  legacy- 
hunters,  whom  his  will  disappointed.  After  various  pecuniary 
bequests  to  all  his  humble  associates,  he  left  the  residue  of 
his  vast  fortune  to  his  friends,  Francis  Palmer,  and  Douce,  a 
well-known  antiquarian. 

The  chief  excellence  of  the  busts  of  Nollekins  was  their 
truth  and  simplicity;  their  chief  defect,  want  of  dignity  and  sen- 
timent. His  utter  ignorance  of  classic  lore  was  a  great  disad- 
vantage to  his  poetic  sculptures.  He  could  fashion  a  form 
coldly  and  mechanically  correct;  but  he  wanted  the  high 
genius  which  can  breathe  a  divine  air  into  the  inanimate  mar*- 
ble. 

His  clay  sketches  present  every  variety  of  attitude  and 
emotion;  but  they  want  fancy,  and  are  for  the  most  part  com- 
mon-place and  hackneyed. 

John  Bacon,  born  in  1740,  was  another  eminent  sculptor, 
who  infused  more  good  English  sense  into  his  works  than  any 
preceding  artist.  One  of  his  first  compositions  which  attract- 
ed public  notice,  was  a  colossal  head  of  Ossian.  In  1769,  he 
had  the  honor  of  receiving  from  Reynolds  the  first  gold  medal 
for  sculpture  ever  given  by  the  Royal  Academy. 

The  subject  is  ^neas  bearing  Anchises  from  the  burning 
of  Troy.  His  next  famous  work  was  his  statue  of  Mars.  It 
was  correct  in  outline,  accurate  in  proportion,  but  wanting  in 
heroic  sentiment  and  lofty  expression.  He  was  afterwards 
introduced  by  Archbishop  Maskham  to  George  III.,  and 
employed  in  modelling  the  royal  bust.  The  King  was  not 
only  pleased  with  his  skill,  but  with  his  modesty  and  simplici- 
ty, and  became  his  firm  patron  in  after  life. 


SCULPTURE. 


185 


His  monument  for  the  illustrious  Chatham,  excited  the 
admiration  of  all  London.  It  represents  the  statesman  stand- 
ing high  in  the  centre;  while  Commerce  and  Manufactures 
under  his  protection  pour  plenty  from  the  four  quarters  of  the 
world  into  the  lap  of  Britannia.  The  figures  have  been  blam- 
ed as  being  too  full  of  action,  and  too  affectedly  picturesque; 
but  the  whole  has  an  imposing  eflect.  It  is  of  this  monument, 
that  Cowper  speaks,  when  he  says: 

*  Bacon  there 
Gives  more  than  female  beauty  to  a  stone, 
And  Chatham's  eloquence  to  marble  lips; 
Nor  does  the  chisel  occupy  alone 
The  powers  of  sculpture,  but  the  style  as  much.' 

He  was  much  criticised  by  his  professional  brethren  for  his 
ignorance  of  the  antique  style.  To  rebuke  their  sarcasms,  he 
modelled  a  head  of  Jupiter  Tonans,  gave  it  a  time-worn  look, 
and  upon  producing  it  among  the  connoisseurs,  had  the  satis- 
faction of  hearing  them  inquire  with  one  voice  from  what 
temple  it  had  been  brought. 

*  The  boasted  antique,' said  he  *  is  to  be  found  in  nature. 
It  was  but  the  result  of  poetry  acting  upon  the  actual  form 
and  mind  of  men.'  In  all  that  he  did  there  was  a  plain  mean- 
ing, and  a  sentiment  which  lay  on  the  surface. 

In  1780,  the  reputation  of  Bacon  had  spread  over  the  island; 
his  works  had  found  their  way  into  cathedrals,  collections, 
and  galleries.  Orders  poured  upon  him  from  all  quarters; 
and  he  received  innumerable  lucrative  commissions  for  monu- 
ments, groups,  and  statues. 

When  his  colossal  statue  of  the  River  Thames  was  exhibit- 
13 


186 


SCULPTURE. 


ed  in  Somerset-House,  the  royal  family  went  to  see  it, 
'  Why  did  you  make  so  frightful  a  figure?'  said  Queen  Char- 
lotte, turning  to  the  sculptor. 

'  Art,'  replied  the  artist  with  a  bow,  '  cannot  always  effect 
what  is  ever  within  the  reach  of  nature, — a  union  of  beauty  and 
majesty.' 

Bacon  was  a  pious  man;  much  occupied  with  religion,  and 
author  of  several  works  on  religious  subjects.  He  also  wrote 
disquisitions  on  sculpture,  but  amidst  all  his  other  occupations, 
continued  to  labor  arduously  in  his  profession.  Among  his 
best  works  are  his  statues  of  Johnson  and  Howard,  in  St. 
Paul's  Church.  The  statue  of  Johnson  represents  the  learn- 
ed man  in  an  attitude  of  profound  thought,  with  a  serious, 
surly  aspect,  well  suiting  his  character. 

The  drapery  of  the  robe  in  which  he  is  clothed,  is  well 
arranged;  the  whole  is  simple  and  dignified.  Howard  is 
represented  trampling  upon  chains  and  fetters,  with  a  key  in 
one  hand,  and  a  plan  for  the  improvement  of  jails  and  hospitals 
in  the  other.  His  face  is  full  of  benevolence,  and  he  seems 
to  be  descending  into  a  dungeon  on  an  errand  of  mercy. 

But  in  general,  the  genius  displayed  by  Bacon  was  not  of  a 
high  order.  He  had  little  imagination,  though  a  good  deal  of 
external  grace.  He  was  always  neat,  skilful  and  elaborate 
in  the  workmanship  of  his  statues.  But  his  original  education 
seems  to  have  fettered  his  mind,  and  he  had  no  other  resource 
but  in  personifying  the  virtues  or  talents  of  the  person  whom 
ho  was  d  sired  to  commemorate.  If  the  deceased  were  a  poet, 
Poetry  was  seen  bending  over  his  urn;  if  a  navy  commander, 
Britannia  shaking  a  thunderbolt  over  the  ocean  was  his  sym- 


SCULPTURE. 


187 


bol;  if  an  honest  statesman,  Truth  is  seen  trampling  upon  False- 
hood, or  Honor  presenting  him  with  the  order  of  the  Garter. 

But  when  he  had  known  familiarly  the  person  whose  statue 
he  was  commissioned  to  make,  he  threw  off  this  hackneyed 
taste;  brought  the  original  before  his  mind,  and  seldom  failed 
in  his  attempt  to  embody  the  image  with  truth  and  sim- 
plicity. 


CHAPTER  X. 

Of  Mrs.  Darner — romplimonts  paid  to  her  works — Her  sleeping  dogs  and 
busts — Her  studies  and  travels — Tlie  ladies  canvass — Her  chief  works — 
Her  interview  with  Napoleon — Her  wit  and  beauty — Remarks  on  her 
iculpturc — Rirtli  of  Flaxman — His  enrly  genius — His  first  works — He 
marries  and  goes  to  Rome— His  subsequent  compositions — Designs 
from  the  Iliad,  Odyssey,  &c — An  account  of  his  principal  works  in 
England — Singular  anecdote  concerning  him — His  death — General  re- 
marks on  English  sculpture. 

The  annals  of  statuary  record  few  artists  of  the  fair  sex,  and 
the  name  of  Mrs.  Damer  is  worthy  of  notice — less  for  her  skill 
in  the  art  of  sculpture,  than  for  her  having  forsaken  society 
in  all  the  pride  of  youth,  loveliness  and  high  birth,  to  devote 
herself  exclusively  to  its  practice. 

She  was  born  in  1748,  was  the  only  child  of  Field-Marshal 
Henry  Seymour  Conway,  brother  to  the  Marquis  of  Hertford, 
and  of  lady  Caroline  Campbell,  daughter  of  John,  Duke  of 
Argyle. 

It  is  said  to  have  been  scarcely  credited  in  London,  when 
related,  that  the  beautiful  Miss  Conway  had  become  a  worker 
13* 


188 


SCULPTURE. 


in  wet  clay,  with  a  mob  cap  on  lier  liead  to  keep  off  the  dust, 
and  an  apron  to  preserve  her  silk  gown  and  embroidered  slip- 
pers, and  that  with  an  iron  hammer  in  one  hand,  and  a  steel 
chisel  in  the  other,  she  had  begun  to  carve  heads  in  marble. 

According  to  her  cousin,  Horace  Walpole,  she  rivalled  the 
antique  in  her  busts  and  poodle-dogs.  The  graceful  touch  of 
her  chisel  was  celebrated  by  Dr.  Darwin;  and  Cerrachi,  who 
plotted  against  the  life  of  Napoleon  in  1802,  and  suffered  by 
the  guillotine,  executed  her  statue  as  the  Muse  of  Sculpture. 
Perhaps  a  little  flattery  to  such  an  artist  was  excusable. 

She  secured  the  good  opinion  of  Horace  Walpole  by  be- 
coming an  inveterate  whig,  and  by  carving  two  marble 
kittens,  for  his  collection  of  curiosities  at  Strawberry-Hill, 
She  studied  under  Bacon,  and  took  a  few  lessons  from  Cerra- 
chi. She  married  the  Hon.  John  Damer,  son  of  Lord 
Milton;  who  wasted  a  princely  fortune  in  extravagance,  and 
ended  his  life  by  suicide.  After  his  death,  Mrs.  Damer  travel- 
led through  France,  Spain  and  Italy,  dividing  her  time  and 
talents  between  sculpture  and  politics. 

She  made  a  group  of  sleeping  dogs  for  her  brother-in-law, 
the  Duke  of  Richmond;  and  took  busts  of  the  Duchess  of 
Devonshire,  Lady  Melbourne,  and  her  father.  Marshal  Con- 
way. 

It  seems  doubtful  which  of  her  productions  were  her  own; 
and  in  which  she  received  assistance.  In  order  to  enter  more 
fully  into  the  merits  of  antique  sculpture,  she  studied  Greek 
and  Latin  with  assiduity;  and  imagined  herself  destined  to 
act  a  great  part  in  the  theatre  of  British  genius.  Visions  of 
future  glory  were  ever  before  her  mind,  and  she  hoped  be- 


SCULPTURE. 


189 


fore  her  death  to  hear  herself  styled  Darner  the  Sculptor, 
rather  than  the  Hon.  Mrs.  Darner,  daughter  of  the  Seymours, 
the  Conways,  and  the  Campbells. 

She  returned  from  the  galleries  of  Rome  and  Florence  to 
take  an  active  part  in  the  famous  Ladies  Canvass,  when  the 
Westminster  election  was  fiercely  contested,  and  ended  in 
the  return  of  Charles  Fox  as  member;  and  when  three  ladies 
of  birth,  beauty,  and  wit,  dividing  Westminster  into  equal 
parts,  set  out  with  the  determination  of  conquering  the  whole 
motley  mob  of  voters,  and  leading  them  to  the  hustings  to  vote 
for  the  whig  candidate. 

These  adventurous  ladies  were  the  beautiful  Duchess  of 
Devonshire,  well  remembered  by  all  the  old  electors,  Mrs. 
Crewe,  and  Mrs.  Darner. 

But  sculpture  still  occupied  her  principal  time.  She  ex- 
ecuted heads  both  real  and  imaginary.  Queen  Caroline,  Isis, 
Thalia,  Fox,  Napoleon,  and  Nelson  were  among  her  works. 
She  was  fond  of  recording  Napoleon's  sayings  and  remarks, 
and  of  relating  the  unbounded  kindness  shown  to  her  by 
Josephine,  whom  she  had  known  in  former  days  as  the  Vis- 
countess Beauharmois. 

When  she  returned  some  years  afterwards  to  Paris,  she 
lound  the  fortunes  of  Napoleon  clouded,  and  a  new  empress 
on  the  throne  of  Josephine.  She  requested  an  audience  of 
the  emperor,  and  presented  him  with  the  bust  of  Fox.  He 
received  her  with  kindness,  and  gave  her  a  magnificent  snuff- 
box set  in  diamonds,  and  now  in  tlie  British  Museum. 

On  the  death  of  Horace  Walpole,  in  1797,  she  became 
owner  for  life  of  his  celebrated  gothic  villa.  Strawberry  HilL 


190 


SCULPTURE. 


Here,  during  the  rest  of  her  life,  she  set  up  her  modelling- 
tools  in  the  summer,  removinop  them  in  the  winter  to  Park- 
Lane.  She  died  in  1828,  in  the  eighty-eighth  year  of  her 
age. 

In  person,  Mrs.  Damer  was  slim  and  elegant;  in  her  youth 
she  was  eminently  beautiful;  her  manners  were  delightful, 
and  her  conversation  brilliant.  As  the  works  of  a  female  of 
rank  and  fashion,  her  busts  may  be  entitled  to  praise;  but  as 
an  artist,  her  merits  M  ere  of  a  middling  order.  She  had  little 
execution,  and  not  much  poetic  feeling.  She  seems  to  have 
succeeded  only  in  what  was  gentle  and  agreeable.  Her 
Thalia  has  little  dignity;  her  Nelson  is  wanting  in  heroic  ex- 
pression; and  her  Fox  in  intellectual  capacity. 

There  is  no  ease  of  hand,  no  nicety  of  stroke,  or  mark  of 
skill  in  her  works.  She  seems  to  have  planned  much  and 
executed  little,  and  to  have  been, 

*  Fond  to  begin,  but  for  to  finish  loth.' 

Flaxman,  the  most  distinguished  name  in  modern  sculpture, 
was  born  in  1755,  in  the  city  of  York.  His  father  was  a 
moulder  of  figures,  and  a  diligent  man  in  his  profession. 
From  his  childhood  young  Flaxman  was  of  a  serene  temper 
and  an  enthusiastic  turn  of  mind,  and  gave  early  indications 
of  his  love  for  the  art. 

As  a  child,  he  made  a  number  of  small  models  in  plaster  of 
Paris,  wax,  and  clay;  some  of  which  are  still  preserved,  and 
have  considerable  merit. 

In  his  fifteenth  year  he  became  a  student  of  the  Royal 
Academy.    In  1770,  he  exhibited  a  figure  of  Neptune  in  wax; 


SCULPTURE. 


J  91 


and  in  1827  his  marble  statue  of  John  Kemble.  These  were 
his  first  and  last  works^  and  between  tliem  was  a  period  of 
fifly-seven  years,  intensely  devoted  to  the  pursuit  of  sculp- 
ture. 

Among  his  other  encragements  he  was  employed  by  Mr. 
Wedgewood,  in  modelling  for  his  celebrated  manufactory; 
and  the  designs  which  he  made  for  this  porcelain  were  won- 
derfully simple  and  beautiful.  One  of  his  best  works  before 
he  went  to  Italy  was  his  group  of  Venus  and  Cupid,  and  his 
monument  to  the  memory  of  Mrs.  Morley,  who,  with  her  in- 
fant, died  at  sea.  The  mother  and  child  are  rising  from  the 
waves,  and  are  received  by  descending  angels.  It  is  an 
exqusite  work,  full  of  that  more  than  mortal  beauty  so  proper 
to  the  subject  which  it  represents. 

In  1782,  Flaxman  married  Miss  Ann  Denman,  an  amiable 
and  accomplished  woman,  who  accompanied  him  to  Italy  in 
1787.  It  is  said  that  he  resolved  to  pursue  his  studies  there, 
in  consequence  of  Sir  Joshua  Reynolds  having  exclaimed, 
when  he  heard  from  himself  of  his  marriage,  *  Oh,  then  you 
are  ruined  for  an  artist!  ' 

At  Rome,  he  executed  various  designs  from  Homer, 
^schylus  and  Dante,  well  known  and  admired  throughout  all 
Europe.  In  these  beautiful  designs,  all  is  grave,  severe  and 
simple,  although  the  stenes  of  carnage  and  peril  are  soften- 
ed by  the  frequent  introduction  of  female  figures  into  the 
groups.  He  executed  thirty-nine  illustrations  of  the  Iliad; 
the  first  representing  Homer  invoking  the  Muse. 

Venus  presenting  Helen  to  Paris,  is  a  composition  full  of 
tenderness,  and  delicacy;  and  in  the  meeting  of  Hector  with 


192  SCULPTURE. 

Andromache  and  his  child,  there  is  a  mixture  of  dignity  and 
matronly  love  which  can  hardly  he  too  much  praised.  Again, 
m  his  more  stormy  scenes,  there  is  a  subdued  tone  necessary 
to  sculpture,  even  while  vividly  expressing  the  most  energetic 
actions;  as  in  his  Achilles  striving  with  the  Spirits  of  the 
Rivers,  and  the  Gods  descending  to  Battle. 

In  his  designs  from  the  Odyssey,  perhaps  the  most  pleasing 
is  the  Departure  of  Ulysses  with  his  bride  for  Ithaca.  Her 
father  entreats  Penelope  to  stay;  her  husband  leaves  it  with 
herself.  She  says  nothing,  hut  covers  her  face  with  her  veil, 
and  turns  from  Lacedoemon. 

It  is  to  the  patronage  of  Mr.  Hope,  the  author  of  An- 
astatius,  that  England  owes  the  next  great  series  of  Flaxman's 
works;  the  Illustrations  of  Dante,  where  the  genius  of  the 
artist  was  displayed  in  all  its  variety  of  power,  whether  in  the 
horrible,  the  beautiful,  or  the  affecting. 

In  1794  he  returned  to  London,  where  his  first  work  was 
his  monument  of  Earl  Mansfield,  for  Westminster  Abbey. 
In  1797  he  was  elected  an  Associate  of  the  Royal  Academy, 
and  in  1810,  Professor  of  Sculpture  to  the  Academy,  where  he 
delivered  his  lectures  every  season,  with  but  few  omissions,  to 
the  last  year  of  his  life. 

A  rapid  succession  of  noble  works  from  his  hand  gave  proof 
that  a  sculptor  had  at  length  appeared  to  vindicate  the  dignity 
of  national  genius.  One  of  his  finest  works  is  his  monument 
to  the  memory  of  the  family  of  Sir  Francis  Baring.  It  is 
among  the  most  splendid  pieces  of  sculpture  in  England. 

During  the  peace  of  Amiens  in  180*2,  Flaxman  visited 
Paris,  where  he  refused  to  be  introduced  to  Napoleon,  whom 


SCULPTURE. 


193 


he  regarded  as  the  enemy  of  his  native  land;  and  repulsed 
the  proffered  civilities  of  David  the  painter. 

The  works  in  which  his  genius  delighted  were  the  illustra- 
tion of  poetical  passages  from  the  Bible.  It  was  these  which 
chiefly  spread  his  fame  through  distant  lands.  Even  the  re- 
mote kingdom  of  Tanjore  acknowledged  his  genius.  He 
made  a  statue  of  the  Rajah  himself,  and  one  of  Schevartz  the 
missionary,  both  of  which  are  now  in  the  East,  and  are  notic- 
ed in  the  Journals  of  Bishop  Heber. 

His  Shield  of  Achilles  has  been  ranked  among  his  best 
works,  but  some  of  his  noblest  productions  belong  to  his  latter 
days.  Such  as  his  Psyche,  his  Pastoral  Apollo,  the  .<?tatues 
of  Michael  Angelo  and  Raphael,  and  the  group  of  the  Arch- 
angel Michael  and  Satan. 

It  was  in  the  winter  of  1826,  that  a  stranger  called  early 
one  morning  upon  Flaxman,  and  presented  him  with  a  book 
bearing  the  singular  title,  *  Al  Ombra  di'  Flaxman.'  Ho 
informed  him  that  he  had  just  received  it  from  an  Italian 
artist,  who,  believing  in  a  report  spread  throughout  Italy  that 
Flaxman  was  dead,  had  published  this  account  of  his  life  and 
works.  '  No  sooner  was  it  published,  continued  the  visitor, 
than  the  story  was  contradicted,  and  the  author  now  begs  that 
you  will  accept  the  work  and  his  apology.' 

This  singular  occurrence  liappened  on  the  2d  of  December, 
1826.  On  the  7th  day  of  the  same  month,  Flaxman  died. 
He  was  buried  in  the  church-yard  of  St.  Giles,  in  the  Fields; 
his  body  was  accompanied  to  its  resting-place  by  the  Presi- 
dent and  Council  of  the  Royal  Academy. 

Flaxman  was  small  in  stature,  and  slim  in  form.    He  had 


194 


SCULPTURE. 


large  piercing  eyes,  and  a  noble  forehead.  His  domestic 
state  was  happy;  his  life  simple  and  blameless,  he  was  mild 
and  charitable,  and  a  perfect  example  of  a  truly  virtuous 
man. 

He  was  among  the  first  to  awaken  the  dormant  energies  of 
sculpture,  and  to  restore  the  simple  and  grand  style  of 
antiquity,  since  the  best  ages  of  Greece,  more  deep  feeling 
and  true  taste  are  nowhere  to  be  found  than  in  his  works.  In 
the  loftiness  of  his  conceptions  he  surpassed  both  Canova  and 
Thorwaldsen,  though  perhaps  inferior  to  the  former  in  the 
graces  of  composition. 

Since  the  introduction  of  the  Phidian  marbles  into  Eng- 
land, every  department  of  taste  has  been  improved,  and  the 
English  artists,  headed  by  the  celebrated  Chantrey,  are  now 
pursuing  a  path  which  must  infallibly  lead  to  perfection;  nor 
can  any  school  in  Europe  boast  of  more  vigorous  practice, 
or  sounder  principles,  than  the  British  school  at  the  present 
era. 


SCULPTURE. 


195 


CHAPTER  XI. 

Science  necessary  for  a  sculptor — Earliest  sculpture — Different  passions 
expressed  on  the  Human  lace — Sculpture  of  inferior  animals — Morses 
of  the  Kl<rin  marbles  —  Remarks  on  the  (jrecian  statues — In  wliat  sculp- 
ture dif^t'rs  from  paintintr — Of  composition  divided  into  three  classes — • 
Heroic  composition  suitable  to  sculpture — The  Grecian  idea  of  perfect 
composition — Errors  of  the  moderns  in  composition — Of  style — The 
Grecian  beau  ideal  of  beauty — Remarks  on  coloring  statues — The 
colossal  works  of  Phidias — The  ancient  maxim  witii  regard  to  sculp- 
ture— Of  proportion — Drapery. 

Before  the  arts  of  design  could  be  cultivated  with  success, 
science  must  have  attained  a  certain  degree  of  perfection. 
A  knowledge  of  proportion  was  necessary  to  regulate  the 
height,  breadth  and  thickness  of  the  human  body;  of  geometry 
and  mechanics,  to  determine  the  powers  and  extent  of  motion, 
and  of  anatomy,  in  order  to  understand  the  structure  of  the 
bones,  muscles,  Slc,  without  a  knowledge  of  which  the  figure 
cannot  be  correctly  represented. 

The  earliest  imitations  of  the  human  fio;ure  in  all  a<Tos  have 
been  rude,  disproportioned  and  insipid;  because  the  human 
form  must  be  understood  before  it  can  be  imitated.  Professor 
Camper  lias  shown  in  his  Lectures  that  the  figure  and  organi- 
zation of  man  contain  the  principles  on  which  the  structure  of 
all  inferior  animals  is  fortped,  and  from  which  they  are  remov- 
ed by  gradual  imperfection. 

But  to  represent  the  human  form  with  expression,  a  know- 
ledge of  the  human  mind  is  also  necessary;  of  the  various 
feelings  and  passions  which  animate  it;  and  of  the  effect 
which  these  feelings  and  passions  produce  upon  the  exterior 
of  the  face  and  figure. 


m 


SCULPTURE. 


Thus  a  passionate  man  may  be  known  by  his  quick  fiery 
glances,  swollen  brows,  dilated  nosfrils,  the  movements  of  the 
whole  figure  sudden,  the  muscles  of  the  body  disposed  to  be 
rigid  and  contracted.  The  melancholy  have  a  universal  slow- 
ness of  motion,  and  the  exterior  corners  of  the  eyes  and  eye- 
brows bending  downwards. 

Inferior  animals  are  mtich  more  easily  represented  than 
human  beings.  The  finest  examples  of  power  in  the  sculpture 
of  animals  may  be  seen  in  the  Elgin  marbles.  The  horses  of 
the  frieze  appear  to  live  and  move,  to  roll  their  eyes,  to  gal- 
lop, prance,  and  curvet. 

The  statues  executed  in  the  time  of  Phidias  and  his  imme- 
diate successors,  represent  the  human  figure  in  the  full  de- 
velopement  of  its  powers,  and  perfection  of  its  beauty;  and  it 
is  by  studying  the  rules  of  outline,  rigidly  observed  by  these 
great  masters,  that  we  can  attain  just  ideas  upon  the  subject  of 
sculpture. 

The  ancients,  in  representing  their  divinities,  endeavored  as 
far  as  possible  to  display  the  energy  of  intellect,  above  the 
material  accidents  of  passion  or  decay.  Their  Jupiter  was 
most  placid  when  most  mighty;  either  when  extending  vic- 
tory as  the  reward  of  fortitude,  or  holding  the  thunder  and 
sceptre,  the  elements  of  his  sovereignty.  Mental  power 
characterizes  the  divinity,  bodily  exertion  the  hero.  In  the 
faces  of  the  Dying  Achil  es  and  the  Laocoon,  pain  and  death 
produce  no  distortion.  The  elevation  of  noble  minds  is  seen 
in  their  sufierino^s. 

The  art  of  the  sculptor  is  limited  in  comparison  with  paint- 
ing, because  colors  and  their  various  eflfects  are  beyond  his 


SCULPTURE. 


197 


bounds.  Whether  the  act  he  represents  was  performed  in 
sunshine  or  darkness,  his  forms  must  be  equally  perfect,  and 
his  expression  equally  decided. 

Yet  this  very  circumstance  strengthens  his  powers.  He 
disregards  inferior  objects  for  the  perfection  of  the  human 
form.  Composition  in  sculpture  signifies,  as  in  painting,  the 
grouping  of  figures  in  succession  or  in  action;  but  sculpture 
allows  no  picturesque  addition  or  effect  of  background.  The 
story  must  be  told,  and  the  ground  occupied  by  the  figure  and 
acts  of  man. 

Yet  the  story  may  require  that  the  upper  part  of  one  figure 
should  be  seen,  while  the  lower  part  is  concealed  by  an  inter- 
vening object.  Some  figures  may  be  running  in  different 
directions,  more  crowded  or  separate.  To  regulate  these 
spaces  and  quantities  harmoniously,  is  one  of  the  chief  arts  of 
the  sculptor. 

Tiicre  arc  three  classes  of  composition ;  the  sublime,  the 
heroic,  and  the  tender.  The  sublime  represents  all  super- 
natural acts  and  appc^aranccs, — such  as  assemblies  of  the 
gods;  or  in  Christian  subjects,  the  Transfiguration,  the  Ascen- 
sion, &c.  In  this  class  there  can  be  nothing  common  in  idea. 
The  beauty  and  dignity  of  the  figures  should  be  more  than 
human;  and  for  this  style  of  composition,  sculpture  is  perhaps 
more  suitable  than  painting. 

The  grey  solemn  tints  of  stone;  the  beautiful  semi-tran«*- 
parent  purity  of  marble,  the  golden  splendor  or  darkened 
green  of  bronze,  seem  fitted  only  for  subjects  of  dignity  and 
elevation.  The  awful  simplicity  of  those  forms  whose  eyes 
have  neither  color  nor  brightness,  and  whose  limbs  have  not 


198 


SCULPTURE, 


the  glow  of  circulation,  strikes  the  beholder  at  first  view,  a« 
belonging  to  beings  of  a  higher  order  than  himself 

Among  heroic  compositions  are  the  battles  of  the  Athe- 
nians and  Amazons,  and  of  the  Athenians  and  Persians  in  the 
Temples  of  Minerva  and  Theseus  in  Athens.  Of  the  tender 
or  pathetic,  are  the  death  of  Meleager,  or  Antiope  comforted 
by  Zethus  and  Amphion. 

The  ancients  considered  simplicity  as  a  characteristic  of 
perfection,  and  represented  stories  by  a  single  row  of  figures 
in  the  bas-relief,  by  which  the  whole  outline  of  each  figure, 
and  the  flow  of  the  drapery  were  seen  without  interruption. 
There  are  however  instances  among  the  Elgin  marbles, 
where  many  horsemen  are  advancing  before  each  other,  where 
the  nearer  horse  hides  part  of  the  preceding,  without  causing 
the  least  confusion  in  the  effect. 

But  when  the  sculptor  attempts,  as  in  the  later  Italian 
school,  to  unite  the  effects  and  perspective  of  painting  with 
the  force  and  severity  of  sculpture, — to  mingle  entire  figures 
with  those  of  low  relief  on  the  back-ground,  he  has  always 
failed.  The  sculpture  which  partakes  of  the  qualities  of  both 
arts,  cannot  properly  be  ranked  with  either. 

Style  in  sculpture  is  either  natural  or  ideal, — the  latter  pecu- 
liar to  humanity,  the  former  to  divinity.  The  Greeks,  who 
had,  more  than  any  other  nation,  favorable  opportunities  of 
viewing  perfect  models  of  grace  and  beauty,  had  formed  to 
themselves  a  standard  of  perfection  for  their  ideal  statuary. 

The  profile  which  they  most  admired  consisted  in  a  line 
almost  straight,  formed  by  the  forehead  and  nose.  They 
reckoned  a  low  forehead  a  mark  of  beauty,  and  did  not  con- 


SCULPTURE. 


199 


iider  large  eyes  as  essential  to  a  perfect  face.  The  Venus 
de  Medicis  has  small  eyes,  and  the  lower  eyelids  being  raised 
a  little,  gives  them  an  air  of  enchanting  sweetness. 

The  joining  of  the  eyebrows  was  considered  a  deformity, 
though  it  is  sometimes  met  with  in  ancient  statues.  The  beauty 
of  the  mouth  is  pecul.iarly  necessary  to  constitute  a  fine  face. 
The  lower  lip  should  be  fuller  than  the  upper,  to  give  a  round- 
ness to  the  chin.  The  teeth  seldom  appear,  except  in  laughing 
satyrs.  In  the  figures  of  the  gods,  the  lips  arc  generally  a 
little  opened.    The  lips  of  Venus  are  half  open. 

In  figures  of  ideal  beauty  among  the  Greeks,  a  dimple  was 
inadmissible;  and.  when  seen  on  an  ancient  statue,  may  be 
considered  the  innovation  of  a  modern  hand. 

No  part  of  the  head  was  executed  with  more  care  than  the 
ears;  and  so  decisive  is  this  characteristic,  that,  if  in  any 
itatue  we  observe  that  the  ears  are  not  highly  finished,  we 
may  conclude  with  certainty  that  it  is  a  modern  production. 

In  the  heads  of  their  female  statues,  the  hair  w  as  curled, 
thrown  back  and  tied  behind  in  a  waving  manner,  leaving 
considerable  intervals;  which  gives  the  agreeable  variety  of 
light  and  shade,  and  produces  the  efiects  of  chiaro-obscuro. 

The  bands  and  feet  of  the  Grecian  statues  arc  remarkable 
for  beauty.  The  fingers  tapered  very  gently  from  the  root  to 
the  point,  and  the  joints  were  scarcely  perceptible. 

Although  painting  exists  by  colors  only,  and  form  is  the 
peculiarity  of  sculpture,  the  ancients  sometimes  added  colors 
to  their  statues,  as  in  the  Olympian  Jove  and  Athenian 
Minerva  of  Phidias.  There  can  be  no  doubt  that  in  repre- 
sentations of  the  human  figure,  such  a  practice  would  b« 


SCULPTURE. 


utterly  improper.  The  color  of  fle§h  in  a  motionless  figure 
can  only  resemble  death,  or  a  suspension  of  the  vital  powers; 

But  in  these  stupetidous  statues,  this  color  without  motion 
must  have  produced  a  supernatural  effect.  They  were  com- 
posed of  stone  covered  with  plates  of  ivory,  which  of  itself  has 
much  the  tint  of  delicate  flesh.  The  gold  ornaments  with 
which  they  were  enriched  must  have  harmonized  with  the 
ivory,  and  added  a  dazzling  glory  to  the  colossal  form;  while 
the  coloring  of  life  must  have  made  them  appear  like  divinity 
in  abstraction,  or  awful  repose. 

The  ancient  authors  are  unanimous  in  recording  the  effect 
produced  by  these  noble  works.  It  was  even  believed  that 
Jupiter  revealed  himself  to  Phidias,  and  touched  the  statue 
with  lightning  in  token  of  his  approbation. 

In  general,  it  was  a  maxim  of  thfe  ancients  to  banish  all 
violent  passions  from  their  works  of  sculpture.  The  daughters 
of  Niobe,  against  whom  Diana  has  discharged  her  fatal 
arrows,  are  repesented  in  that  state  of  stupefaction,  into 
which  we  may  imagine  the  prospect  of  certain  death  to  have 
thrown  them. 

The  poets  introduce  Philoctetus  shedding  tears,  and  utter- 
ing groans;  but  the  sculptor  represents  him  silent  and  bear- 
ing his  grief  with  silent  dignity.  The  great  error  of  modern 
artists  has  been  in  deviating  from  the  noble  simplicity  and 
sedate  grandeur,  which  distinguished  the  ancient  works. 

Proportion  is  the  basis  of  beauty,  and  the  Grecian  and 
Egyptian  sculptors  laid  down  positive  rules  for  the  dimen- 
sions of  length,  breadth,  and  circumference. 

Drapery  is  an  important  branch  of  study  for  a  sculptor,  and 


SCULPTURE. 


201 


the  simplicity  and  dignity  of  the  Grecian  costume  was  very 
advantageous  to  their  art.  The  Grecian  mantle  and  the  veil 
of  the  females  were  capable  of  producing  the  boldest  and  most 
beautiful  folds.  The  useless  variety,  and  capricious  absurdi- 
ty of  modern  dress  render  it  difficult  for  a  modern  sculptor  to 
be  at  once  consistent  and  dignified  in  the  drapery  of  his 
statues. 


CHAPTER  XII. 

Manner  of  performinsr  difterent  styles  of  sculpture,  wli^ther  in  metal, 
stone,  or  marble — Of  bas?o-mezzo,  and  alto-relievo  models  in  clay  or 
wax — Manner  of  forrnin<^  tiie  models — Of  sculpture  in  wood— Of  statues 
in  stone,  marble,  Ac. — An  account  of  the  manner  in  which  a  statue  is 
formed,  with  the  various  tools  employed  by  the  sculptor;  and  the  dif- 
ferent purposes  for  which  they  are  used. 

Works  of  sculpture  are  performed  either  by  hollowing  or  ex- 
cavating, as  in  metals,  agates,  and  other  precious  stones,  and 
in  marbles  of  every  description;  or  by  working  in  relief  in 
these  materials,  or  in  statues  of  metal,  clay,  wood,  wax, 
marble,  and  stone. 

The  excavation  of  precious  stones  forms  a  particular  branch 
of  the  art  called  intaglio.  The  excavation  of  metals  consti- 
tutes the  art  of  engraving  in  its  various  branches,  on  metal  of 
any  kind.  There  are  three  kinds  of  relief  in  sculpture;  alto- 
relievo,  mezzo-relievo,  and  basso-relievo.  Basso-relievo  is 
that  kind  of  sculpture,  in  which  the  figures  do  not  stand  out 
14 


202 


SCULPTURE. 


from  the  ground  in  their  full  proportion;  low  or  flat  sculp 
ture. 

Mezzo-relievo  is  that  in  which  half  the  figure  stands  clear 
from  the  ground,  and  the  other  half  appears  buried  in  it;  and 
alto-relievo  is  that  relief  in  which  the  figures  are  entire,  or 
nearly  so,  being  attached  only  in  a  few  places,  and  relieved 
from  the  ground  like  the  metopes  in  the  Parthenon. 

Custom  however  has  nearly  abolished  two  of  these  terms, 
and  basso-relievo  is  often  applied  to  each  sort,  be  the  projec- 
tions what  they  may. 

Whatever  considerable  work  is  undertaken  by  the  sculptor, 
whether  basso-rciievo,  statue,  &c.,  it  is  always  requisite  for 
him  to  form  a  previous  model  of  the  same  size  as  the  intended 
work.  These  models  are  formed  either  in  wax,  or  in  wet 
clay.  Few  tools  are  necessary  for  this  purpose.  The  clay 
being  placed  on  a  stand,  or  sculptor's  easel,  the  artist  begins 
the  work  with  his  hands,  and  except  in  small  or  sharp  parts, 
seldom  uses  any  other  instrument.  In  wax  he  sometimes 
uses  his  fingers,  and  sometimes  tools. 

The  model  being  perfected,  he  makes  a  cast  of  it  in  plaster 
of  Paris,  which  serves  him  as  a  rule  whereby  to  form  his  stat- 
ue. If  the  statue  is  to  be  in  wood,  the  sculptor  chooses  it  of 
the  best  quality,  hard  or  tender,  according  to  the  size  of  his 
work.  The  statue  of  Diana  of  Ephesus  was  of  cedar;  that  of 
Apollo,  at  Sicyon,  of  box-wood. 

The  beauty  of  sculpture  in  wood  consists  in  the  delicate 

*  These  metopes  were  the  ornaments  of  the  frieze  of  the  Parthenon,  and 
ore  now  among  the  Elgin  marbles. 


SCULPTURE. 


203 


manner  of  cutting  it,  free  from  all  appearance  of  hardness  or 
dryness.  For  sculpture  in  marble  and  other  stone,  the  artist 
makes  use  of  tools  made  of  good  steel,  well  tempered,  and  of 
strength  proportioned  to  the  hardness  of  the  material.  He  first 
saws  from  a  larger  block  of  marble,  a  block  proportioned  to  the 
size  of  the  work  he  is  about  to  undertake. 

After  this,  the  sculptor  shapes  the  gross  masses  of  the  forms 
he  designs  to  represent,  by  knocking  off  the  superfliious  parts 
of  the  marble  with  a  strong  mallet,  and  a  strong  steel  tool, 
called  a  point. 

He  then  brings  it  nearer  to  the  intended  form  by  means  of 
a  finer  point;  and  sometimes  with  a  tool,  called  a  dog's  tooth, 
with  two  points.  After  this,  he  uses  the  gradine,  a  flat  cutting 
tool  with  three  points.  He  then  takes  the  chisel,  and  by  the 
dexterous  and  delicate  use  of  this  instrument,  removes  the 
ridges  left  by  the  former  tools,  and  gives  softness  and  tender- 
ness to  the  figure.  At  length  betakes  a  sort  of  file  called 
a  rasp,  and  brings  his  work  into  a  proper  state  for  being  pol- 
ished. 

To  polish  the  work,  he  lirst  takes  pumice-stone,  to  make  all 
the  parts  smooth  and  even.  He  then  goes  over  them  with 
tripoli,  and  if  he  wishes  for  a  higher  gloss,  rubs  them  with 
leather  and  straw  ashes. 

Besides  these  tools,  sculptors  also  use  the  pick,  a  small 
hammer  pointed  at  one  end,  and  at  the  other  formed  with 
square  steel  teeth.  This  assists  in  breaking  the  marble. 
The  bouchard  is  used  for  making  a  hole  of  equal  dimensions, 
which  cannot  be  done  with  cutting  tools.  It  is  a  piece  of  iron 
well  steeled  at  the  bottom,  and  formed  into  several  strong  and 


204 


SCULPTURE. 


«jhort  points,  with  which  it  bruises  the  marble,  and  reduces  it 
to  powder. 

Sculptors  in  stone  have  commonly  a  bowl  in  which  they 
keep  a  powder  composed  of  plaster  of  Paris,  mixed  with  the 
same  stone  in  which  their  work  is  executed.  With  this  com- 
position they  fill  up  the  small  holes,  and  repair  the  defects 
which  they  meet  with  in  the  stone  itself 


MUSIC. 


MUSIC. 


CHAPTER  1. 

Definition  of  Music — Of  melody  and  harmony — Universal  taste  for  music 
— Its  antiquity  proved  by  a  reference  to  scripture — Hymn  of  Moses — 
Son(r  of  Miriam — Of  tlio  Hebrew  captives — Soncr  of  Deborah  and  Barak 
— Of  Jepbtha's  dauo^hter — Music  in  the  rein  n  of  kincf  David — Musical  in- 
struments probably  brought  from  Etrypt— Of  modern  Hebrew  music — 
Instruments  of  Egyptian  invention — The  '  (jUfrlia  Ilotta  ' — Lyre  invent- 
ed by  Mercury — The  ^fonnnIos — The  Theban  harp — Theory  to  which  it 
has  given  rise— Music  in  the  reign  of  the  Ptolemies— Of  Cadmus  and 
Harmonia — Minerva  the  inventor  of  tlie  flute — Apollo's  lyre — Contest 
between  Pan  and  Apollo — Between  Apollo  and  Marsyas — Hyagnis  a 
musician — The  twoOlympuses — Philanunon  of  Delphos — Greek  worship 
of  Apollo — Tradition  concerning  swans — The  nmsea — Bacchus — Pan — 
The  syrens. 

Music  is  the  art  of  combining  sounds  in  a  manner  agreeable 
to  the  ear.  If  these  sounds  are  simuhaneous,  or  produced  at 
the  same  time,  they  constitute  melody.  If  successive,  they 
produce  harmony.  The  love  of  lengthened  tones  and  modu^ 
lated  sounds,  different  from  those  of  speech,  seems  a  passion 
implanted  in  the  mind  of  man  all  over  the  world.  We  know 
of  no  people,  however  wild  or  savage,  who  do  not  take  pleas- 
ure in  music,  and  apply  it  on  the  most  opposite  occasions;  ia 
XJOtes  of  triumph  when  they  go  to  war,  in  songs  of  merriment 


208 


MUSIC. 


at  their  banquets;  in  mournful  hymns  to  solemnize  their 
funerals,  or  pastoraRays  to  celebrate  beauty  and  the  pleasures 
of  a  rural  life. 

That  music  was  always  admitted  into  the  religious  ceremo- 
nies, public  festivals,  and  social  amusements  of  mankind, 
maybe  proved  by  a  reference  to  the  Bible;  as  also  the  an- 
tiquity of  the  construction  and  use  of  musical  instruments. 
Tubal,  the  sixth  descendant  from  Cain,  is  called  *  the  fa- 
ther of  all  such  as  handle  the  harp  and  organ.' 

When  Jacob  fled  from  Laban,  and  was  reproached  by  him 
for  his  secret  flight,  Laban  said  to  him,  *  Why  didst  thou  flee 
away  secretly,  and  steal  away  from  me,  and  didst  not  tell  me, 
that  I  might  have  sent  thee  away  with  mirth  and  with  songs, 
with  tabret  and  with  harp  ? '  As  Laban  was  a  Syrian,  the 
tabret  and  harp  should  be  ranked  among  Assyrian  instruments. 

In  the  year  1491  before  Christ,  we  have  the  first  instance 
of  a  psalm,  or  hymn,  to  the  Supreme  Being,  upon  record. 
When  having  passed  the  Red  Sea,  Moses,  at  the  head  of  the 
whole  people  of  Israel  escaped  from  bondage,  sung  a  hymn  of 
gratitude  to  the  Lord.  And  Miriam  the  prophetess,  *  took  a 
timbrel  in  her  hand,  and  all  the  women  went  out  after  her, 
with  timbrels  and  with  dances.' 

These  instruments  were  undoubtedly  brought  from  Egypt, 
and  the  trumpet  of  the  Jubilee,  which  was  ordered  to  be 
sounded  soon  after  the  flight  from  Egypt,  was  probably  also 
an  Egyptian  instrument.  When  the  Egyptians  required  a 
hymn  of  their  Jewish  captives,  there  is  perhaps  no  heart  that 
does  not  sympathize  with  their  feelings,  when  they  hung  up 
their  harps  on  the  willows  of  Babylon,  and  refused  to  sing  the 
songs  of  Sion  in  a  strange  land. 


MUSIC. 


209 


More  than  two  thousand  years  have  passed  away  since 
then.  Time  has  changed  all  transitory  things;  but  the  feel- 
inojs  of  the  heart  remain  the  same.  The  sonj;  that  we  knew 
and  loved  in  our  childhood,  the  simple  melody  which  soothed 
our  early  years,  will  always  awaken  a  chord  in  our  heart  that 
never  slumbers,  and  no  effort  of  harmony,  however  brilliant, 
will  affect  us  with  an  impression  at  once  so  vivid  and  so  pain- 
ful. The  hardy  Swiss,  when,  fighting  under  foreign  banners, 
he  hears  the  wild  notes  of  the  Ranz  de  Vaches,  is  brought 
back  in  fancy  to  the  scenes  of  his  native  hills.  His  arms 
drop  from  his  palsied  hand — he  sheds  tears  of  despondency — 
he  has  seen  a  vision  of  his  mountain-home,  and  the  rest  of  the 
world  is  as  a  blank  in  his  eyes. 

We  also  read  in  Scripture  of  the  song  of  Deborah  and 
Barak;  and  of  the  unfortunate  daughter  of  Jephtha,  going 
out  to  meet  her  father  with  timbrels  and  with  dances.  From 
this  time,  till  Saul  was  chosen  king,  1095  years  B.  C,  the 
Scriptures  are  silent  about  every  species  of  music,  except  the 
warlike  blast  of  the  trumpet,  sounded  on  military  expeditions. 
Prophet,  in  some  parts  of  Scripture  appears  to  mean  little 
more  than  a  poet,  who  sung  extempore  verses  to  the  sound  of 
an  instrument,  as  the  improvisatori  of  Italy  and  Spain  do  at 
present. 

According  to  Eusebius,  David  carried  his  harp  or  lyre  with 
him,  wherever  he  went,  to  console  him  in  his  aflliction,  and 
to  sing  to  it  the  praises  of  God;  and  without  having  recourse 
to  a  miracle  in  the  case  of  Saul,  the  whole  of  David's  power 
over  the  disorder  of  that  king  might  be  attributed  to  his  skil- 
ful and  affecting  manner  of  performing  upon  the  harp. 


210 


MUSIC. 


It  was  in  the  reign  of  King  David^  that  the  Hebrews  held 
music  in  the  highest  estimation.  It  was  then  first  admitted  in 
the  worship  of  the  ark,  and  the  ministry  of  sacrifice. 

Josephus  tells  us  that  the  number  of  flute-players,  who  led 
the  processions  at  the  Jewish  funerals,  amounted  sometimes  to 
several  hundred.  From  these  and  various  other  instances,  we 
infer  that  music  was  in  general  use  among  the  Hebrews  from 
the  time  of  their  quitting  Egypt,  till  they  ceased  to  be  a  nation. 
Their  first  music  and  instruments  were  certainly  borrowed 
from  the  Egyptians;  but  these  seem  to  have  remained  in  a 
rude  state  till  the  reign  of  David  and  Solomon.  And  even 
then,  the  multitudes  of  singing  men  and  women,  of  trumpets, 
shawms,  cornets,  sacbuts,  cymbals  and  timbrels,  must  have 
been  more  calculated  to""  produce  sounds  of  joy  and  triumph, 
than  of  musical  harmony. 

With  regard  to  modern  Hebrew  music,  all  instrumental 
and  even  vocal  performances  have  been  banished  the  syna- 
gogue since  the  fall  of  Jerusalem,  because  the  Jews  think  it 
wrong  to  rejoice  before  the  coming  of  the  Messiah.  The 
only  Jews  who  permit  music  in  their  synagogues,  are  the 
Germans,  who  sing  in  parts,  and  who  preserve  some  old 
melodies,  said  to  be  Hebrew,  and  supposed  to  be  very  ancient, 
but  altogether  on  doubtful  testimony. 

It  is  in  vain  to  attempt  to  trace  the  history  of  music  from  a 
higher  source  than  the  history  of  Egypt;  since  no  nation  can 
produce  proofs  of  antiquity  so  indisputable  as  theirs.  There 
the  study  of  music  was  in  ancient  times  confined  to  the  priest- 
hood, who  used  it  only  on  religious  and  solemn  occasions. 
Most  of  the  ancient  musical  instruments  of  Greece  were  of 


MUSIC. 


211 


Egyptian  invention;  such  as  the  triangular  lyre,  the  monau- 
los,  or  single  flute;  the  cymbal,  or  kettle-drum,  and  the 
sistrum,  so  much  used  by  them,  that  Egypt  has  in  derision 
been  called  the  country  of  sistrums,  while  Greece  has  oilen 
been  said  to  be  governed  by  the  lyre. 

The  profession  of  music  in  Egypt  was  hereditary,  and  like 
their  sculpture,  was  circumscribed  by  law,  and  continued  in- 
variable for  many  ages.  On  an  Egyptian  obelisk  known  at 
Rome  by  the  name  of  the  Guglia  rotta,  or  broken  pillar,  there 
is  represented  a  musical  instrument  with  two  strings,  having  a 
neck  to  it,  thus  proving  that  the  Egyptians  in  remote  antiqui- 
ty had  discovered  the  means  of  extending  their  scale,  and 
multiplying  the  sounds  of  a  few  strings  by  a  simple  and  com- 
modious expedient. 

The  Egyptian  Hermes,  or  Mercury,  surnamed  Trismegis- 
tus,  or  Thrice  Illustrious,  and  supposed  by  Sir  Isaac  Newton 
to  have  been  the  secretary  of  Osiris,  is  celebrated  as  the  in- 
ventor of  the  lyre.  It  was  said,  that  walking  along  the  banks 
of  the  Nile,  he  struck  his  foot  against  a  tortoise-shell,  which 
emitted  a  sonorous  sound.  The  idea  of  a  lyre  occurred  to  his 
imagination,  and  he  constructed  one  in  the  form  of  a  tortoise, 
and  strung  it  with  the  sinews  of  dead  animals. 

The  monaulos,  or  single  flute  of  Egypt,  was  in  the  form  of 
a  bull's  horn,  and  was  at  first,  probably  no  other  than  the  horn 
itself.  But  the  most  astonishing  proof  of  the  cultivation  of 
music  in  Egypt  exists  in  the  exquisite  beauty  of  the  Theban 
harp,  a  drawing  of  which  was  taken  by  Bruce  from  a  picture 
in  fresco,  found  by  him  in  the  sepulchral  chambers  behind  the 
ruins  of  Egyptian  Thebes, 


212 


MUSIC. 


This  harp  has  thirteen  strings,  wanting  only  two  strings  of 
two  complete  octaves.  Its  form  is  elegant,  more  so  than  the 
modern  harp,  which  it  resembles,  except  in  having  no  forepart 
to  the  frame.  The  soundino:-board  is  at  the  back.  It  is  or- 
namented  on  the  top  with  the  figure  of  a  sphynx  and  lotusj 
the  frame  appears  to  be  inlaid  with  ivory,  tortoise-shell,  and 
mother-of-pearl,  and  the  ornaments  are  tasteful  and  beautiful. 
Perhaps  in  the  fine  evenings  of  Egypt,  her  veiled  maidens 
used  to  sail  down  the  Nile,  with  its  lotus-crowned  banks,  sing- 
ing to  these  harps  the  praises  of  their  gods. 

The  mind  is  lost  in  contemplating  the  immense  antiquity  of 
the  painting  which  represents  this  instrument.  It  has  encour- 
aged a  belief  in  many,  that  what  is  usually  considered  in 
Egypt  the  invention  of  the  arts,  was  in  fact  the  era  of  their 
restoration;  that  after  having  attained  to  great  perfection^ 
they  had  been  again  lost,  and  again  invented. 

During  the  reigns  of  the  Ptolemies,  the  sumptuous  and  vo- 
lu|^||||^us  despots  who  reigned  over  the  Egyptians  when  they 
had  ceased  to  be  a  free  people,  there  can  be  no  doubt  that 
music  was  greatly  encouraged.  The  father  of  Cleopatra  was 
surnamed  Auleies,  or  flute-player,  from  his  excessive  fondness 
for  that  instrument.  But  this  music  was  probably  Grecian. 
The  Egyptian  music  and  instruments  were  lost  after  their 
subjection  to  the  Persians — and  with  the  captivity  of  Cleopa- 
tra, both  the  history  and  empire  of  Egypt  terminated. 

Fable  and  truth  are  so  mingled  together  in  ancient  Grecian 
history,  that  it  is  difficult  to  say  where  the  one  begins  and  the 
other  ends.  It  is  probable  that  most  of  the  Greek  divinities 
were  mere  mortals,  who  acquired  divine  honors  by  the  benefits 


MUSIC. 


213 


they  conferred  upon  mankind.  Cadmus  is  a  name  much  cele- 
brated by  antiquity.  Having  gone  to  Greece  in  search  of  his 
sister  Europa,  he  sailed  to  Samothrace,  an  island  near  Lem- 
nos,  where  he  married  Harmonia,  who  according  to  some  au- 
thors was  a  princess,  according  to  others  a  goddess,  while 
some  say  that  she  was  a  flute-player  by  profession.  Howev- 
er that  may  be,  Harmonia  could  produce  nothing  but  melody 
on  her  wild  flute,  as  the  Greek  music  had  no  gamut.  Perhaps 
the  truth  of  this  story  is,  that  Cadmus,  who  introduced  letters 
into  Greece,  married  a  princess  who  brought  music  or  harmo- 
ny thither.  But  the  whole  is  shrouded  in  fiction.  The  gods 
were  said  to  have  attended  their  wedding.  Some  presented 
the  bride  with  valuable  presents,  while  Apollo  played  on  his 
lyre,  the  Muses  on  their  flutes,  and  the  other  divinities  shout- 
ed for  joy. 

Minerva  was  said  to  have  invented  the  flute,  and  to  have 
thrown  it  aside  on  being  laughed  at  by  Juno  and  Venus,  for 
the  distortion  caused  by  swelling  her  cheeks  in  the  act  of 
blowing  it.  Others  say  that  she  abandoned  the  flute  on  see- 
ing Apollo  playing  on  the  lyre,  because  she  observed  that  this 
left  his  mouth  at  liberty,  and  enabled  him  to  sing  while  he 
played. 

Apollo's  lyre  was  invented  by  Mercury,  and  given  by  him 
to  Apollo,  in  order  to  appease  the  angry  god  whose  herds  he 
had  stolen.  Amphion  raised  an  altar  to  Apollo,  who  in  return 
endowed  him  with  such  musical  skill,  that  he  raised  the  walls 
of  Thebes  by  the  music  of  his  lyre. 

Of  all  the  pagan  divinities,  none  were  so  famed  for  their 
skill  in  music  as  Apollo.    Pan,  having  declared  that  his  flute 


214 


MUSIC. 


was  superior  to  Apollo's  lyre,  accepted  of  a  musical  challenge 
from  that  divinity.  Midas  was  appointed  judge.  He  decid- 
ed in  favor  of  Pan,  and  Apollo  rewarded  him  with  a  pair  of 
ass's  ears  for  his  stupidity. 

This  was  probably  the  invention  of  some  musical  poet,  in- 
tended to  show  that  Midas,  king  of  Phrygia,  was  so  occupied 
in  collecting  gold,  that  he  paid  no  attention  to  the  fine  arts. 

Marsyas,  a  celebrated  flute-player,  was  the  son  of  Hyaguis, 
who  lived  1500  years  before  Christ.  Hyagnis  was  supposed 
to  be  the  inventor  of  the  flute  and  the  Phrygian  mode,  as  also 
of  nomes,  or  airs  that  were  sung  to  various  divinities.  The 
musical  contest  between  Marsyas  and  Apollo  has  been  great- 
ly celebrated.  The  flute  of  Marsyas  was  vanquished  by  the 
lyre  of  Apollo,  and  the  gods,  influenced  by  the  violence  of  the 
dispute,  flead  him  alive  for  his  presumption. 

There  is  a  magnificent  statue  at  Home,  where  Marsyas 
is  represented  fastened  to  a  tree,  with  his  arms  extended. 
Among  the  inventions  of  Marsyas  was  the  bandage  made  of 
le^ather  thongs,  used  by  the  ancients  in  playing  the  flute,  to 
Keep  the  cheek  and  lips  firm,  and  to  prevent  the  distortion  of 
the  countenance  when  blowing  it. 

There  were* also  two  great  musicians  in  antiquity,  of  the^ 
name  of  Olympus,  celebrated  performers  on  the  flute.  The 
one  lived  before  the  Trojan  war;  the  other  was  contemporary 
with  Midas,  who  died  697  years  before  Christ.  The  first  was 
a  scholar  of  Marsyas;  the  second  was  a  Phrygian,  and  the 
author  of  several  poems. 

Plato,  Aristotle,  and  Plutarch,  are  unanimous  in  celebrat- 
ing the  praise  of  the  disciple  of  Marsyas.    During  the  time  of 


MUSIC. 


215 


Plutarch,  his  music  was  still  chaunted  in  the  temples;  and  he 
-svas  also  the  author  of  the  Curule  song,  which  caused  Alexan- 
der to  seize  his  arms,  when  he  heard  it  perforrned  by  Anti- 
genides. 

Plutarch  also  mentions  Philammon  Delphos,  who  being 
a  great  poet  and  musician,  was  considered  the  son  of 
Apollo. 

The  Greeks  consecrated  the  cock,  the  grasshopper,  and 
the  swan  to  Apollo;  the  first,  because  by  its  crowing  it  an- 
nounces the  approach  of  Pha3bus;  the  second,  because  it 
sings  all  summer;  the  third,  on  account  of  its  supposed 
vocal  powers.  The  opinion  of  the  swan's  singing  sweetly  at 
the  approach  of  death,  was  universally  believed  by  the 
ancients;  and  Qillian  even  asserts  gravely  that  at  a  solemn 
annual  festival  in  honor  of^^^pollo,  a  band  of  swans  used 
regularly  to  take  their  places  among  the  musicians  in  the 
temple,  and  perform  their  parts  with  the  utmost  precision! 

All  the  Greek  dances  and  sacrifices  in  honor  of  Apollo, 
were  performed  to  the  sound  of  flutes;  and  the  presents  for- 
merly sent  to  Delos  were  conducted  tliitlier  to  the  sound  of 
lyres,  flutes,  and  shepherds'  pipes. 

The  jMusos  are  the  only  pagan  divinities  whose  names  arc 
still  invoked;  and  few  poets  commence  their  undertaking, 
without  an  invocation  to  the  tuneful  Nine.  Apollo  was  paint- 
ed with  a  cithara  of  ten  strings,  as  a  symbol  of  his  union  with 
the  Nine  Muses.  Pythagoras  and  Plato  supposed  that  the 
universe  itself,  and  all  its  parts,  were  constructed  upon  the 
principles  of  harmony.  The  Muses  were,  according  to  them, 
the  soul  of  the  planets  in  our  system;  whence  the  imaginarj 
music  of  the  spheres. 


216 


MUSIC. 


Bacchus  acted  an  important  part  in  musical  mythology. 
He  was  the  god  both  of  wine,  and  song;  and  in  ancient  sculp- 
ture, we  find  him  accompanied  by  fawns  and  satyrs  playing 
on  timbrels,  cymbals,  bagpipes,  and  horns.  The  processions 
celebrated  in  his  honor  were  accompanied  by  musicians  of 
both  sexes,  dressed  like  fawns  and  satyrs,  and  formed  into 
bands  of  music,  playing  upon  drums  and  cymbals,  and  shout- 
ing, Evohe  Bacche! 

Pan  was  another  musical  divinity,  author  of  the  pipe  of 
reeds  called  syrinx.  Of  the  celebrated  Sirens  who  lived  on 
the  coast  of  Sicily,  and  lured  the  voyager  to  destruction  by 
the  melody  of  their  voice,  it  is  difficult  to  form  a  decided 
opinion.  Some  say  that  they  were  queens  of  certain  small 
islands,  named  Sirenusoe,  that  they  cultivated  the  fine  arts, 
and  founded  a  renowned  acac^emy.  Others,  that  the  word 
Siren  implies  songstress,  in  the  Phcenician  language,  and  that 
the  Sirens  were  probably  excellent  singers,  of  corrupt  morals, 
who  lived  on  the  coast  of  Sicily.  Perhaps,  the  whole  is  a 
fable,  intended  to  show  that  pleasures,  too  eagerly  pursued, 
must  hurry  us  to  destruction. 


MUSIC. 


917 


CHAPTER  II. 

Music  in  the  primitive  ages — Union  of  Music  and  Poetry — Musical  demi- 
gods amoncr  the  Greeks — Of  the  first  Bards — Music  and  Musicians 
mentioned  in  the  Iliad  and  Odyssey — Of  Thamyrud,  Demidocus,  Phe- 
mius — Blank  space  in  the  History  of  Music — Of  Thaletas,  and  his  dis- 
coveries in  Music — Of  another  Thaletas,  also  a  Musician — Archilochus 
— His  life  and  compositions — Tyrtseus — Terpander — He  discovers  Musi- 
cal notation — Musical  contests  at  the  01yinj)ic  and  Pythic  frames — First 
separation  between  Music  and  Poetry — Sacadas — Pyttiocritus — Love  of 
Music  and  Poetry  at  Sparta — Anecdote  of  Agesilaus — Alcman— Aglais 
— AlcGDUs — Sappho — Mininermus  — Simonidcs  I'indar — Nemean  Games — 
^Timotlieus — Act  passed  acrainst  his  Music  by  the  Ephori — flis  opinion 
with  regard  to  teachinor  Music — Musical  contests  at  the  Isthmian  and 
Pandthancean  games — The  most  celebrated  Flute-players  of  antiquity — 
Of  Alcibiades — Antigenides — llarmonides — Trumpet-players — Of  Do- 
rian— Ismenias — Remark  of  Xenophon — Lamia,  a  finnale  Flute-player. 

In  the  early  ages  of  the  world,  the  chief  employment  of  princes 
was  to  tend  their  flocks,  and  to  amuse  themselves  with  rustic 
songs,  accompanied  by  rude  instruments.  In  process  of 
time  music  and  poetry  extended  their  influencp  from  tlie  fields 
to  the  city;  and  were  employed  in  chanting  the  mysteries  of 
religion,  or  the  valiant  deeds  of  heroes.  The  term  singer  was 
equally  applied  to  musician  and  poet;  for  no  poetry  was  writ- 
ten hut  to  be  sung,  and  music  was  intended  as  an  accompani- 
ment to  poetry.  So  many  fables  are  connected  with  the  first 
poets  and  musicians,  that  some  have  even  doubted  their  exist 
ence.  It  is  scarcely  to  be  wondered  at,  that  the  ignoran 
should  have  deified  persons  whom  they  found  capable  of  pro- 
ducing in  them  feelings  of  awe,  rapture,  and  admiration,  such 
as  seemed  unaccountable,  and  surpassing  human  power. 

The  names  of  Chiron,  Amphion,  Orpheus,  Licius,  and  Mu- 
•OBus  will  never  be  forgotten,  though  tradition  has  thrown  so 
15 


218 


MUSIC. 


doubtful  a  light  around  them.  The  lyre  of  Orpheus,  especial- 
ly, embellished  with  all  the  beauties  of  poetry  and  fiction,  must 
always  be  celebrated;  the  lyie  which  could  silence  Cerberus, 
suspend  the  torments  of  Tartarus,  and  charm  even  the  grim 
divinities  of  hell. 

^  It  is  supposed  that  the  occupation  of  the  first  poets  and  mu- 
sicians of  Greece  resembled  that  of  the  hards  among  the  Cel^s 
and  Germans;  and  of  the  scalds  among  the  Icelanders  and 
Scandinavians.  They  were  chanters,  who  sung  their  works 
in  cities  and  in  palaces. 

They  were  treated  with  respect,  and  looked  upon  as  inspired 
persons.  Such  were  at  first  the  troubadours  of  Provence 
and  Languedoc,  and  the  minstrels  of  other  countries,  and 
such  was  Homer  himself,  whose  poems  are  the  most  authen- 
tic picture  that  exists  in  the  annals  of  antiquity,  of  the  times  in 
which  he  wrote  and  lived. 

Music  is  always  mentioned  in  the  Iliad  and  Odyssey  with 
rapture;  and  the  poets  and  musicians  mentioned  by  Homer 
are  ranked  among  the  bards  of  Greece,  who  flourished  about 
the  time  of  the  Trojan  war.  The  instruments  most  frequently 
named  by  him  are  the  lyre,  the  flute,  and  the  syrinx.  The 
two  last  are  certainly  of  Egyptian  origin,  though  the  Greeks 
attribute  the  invention  of  them  to  their  divinities.  The  trum- 
pet appears  to  have  been  unknown  at  the  seige  of  Troy.  The 
first  signals  for  battle  in  primitive  wars  are  said  to  have  been 
lighted  torches.  To  these  succeeded  the  shells  of  fishes, 
which  were  blown  like  trumpets.  At  ail  the  public  feasts  and 
banquets  mentioned  by  Homer,  there  is  not  one  without  mu- 
sic and  a  bard.    His  heroes  are  musical:  so  are  his  divinities. 


MUSIC. 


219 


The  delegates  from  Agamemnon  to  Achilles,  find  him  singing 
to  the  harp: 

^Amus'd  at  ease,  the  godlike  man  they  found, 
Picas'd  with  the  solemn  harp's  harmonious  sound  : 
(Tht»  well-wrought  harp  from  conquer'd  Theba3  came, 
Of  polish'd  silver  was  its  costly  frame  ;) 
With  this  he  soothes  his  angry  soul,  and  sings 
Til'  immortal  deeds  of  heroes  and  of  kings.' 

Thamyris  is  called  by  Homer,  *  one  who  plays  on  the  cith- 
ara.'  He  was  born  in  Thrace,  and  was  the  son  of  Philam- 
mon;  but  having  challenged  the  muses  to  a  trial  of  skill  in 
poetry  and  music,  they  deprived  him  of  sight  for  his  presump- 
tion. 

It  has  been  generally  tiiouglit  that  in  the  person  of  Demo- 
docus  the  Bard,  whom  Homer  introduces  into  the  Odyssey,  he 
meant  to  represent  himself.  However  that  may  be,  he 
ascribes  the  song  of  Demodocus  to  inspiration,  and  exalts  his 
character  to  the  summit  of  human  glory.  He  represents  him 
as  holding  a  distinguished  place  at  the  Court  of  Alcinous,  as 
sitting  at  the  King's  table,  and  as  being  always  preceded  by 
a  herald. 

Phemius  also,  who  lived  at  Ithaca,  is  mentioned  by  Homer 
in  terms  of  great  praise.  The  honor  in  which  bards  were 
held,  and  the  love  of  the  ancients  for  music  are  sufficiently 
manifest  throughout  all  the  writings  of  Homer. 

From  the  time  of  Homer  to  that  of  Sappho,  there  is  almost  a 
total  blank  in  literature.  Between  Sappho  and  Anacreon,  a 
period  of  about  one  hundred  years,  no  literary  productions 
have  been  preserved  entire;  and  again  between  Anacreon 
and  Pindar,  there  is  another  chasm  of  near  a  century. 


220 


MUSIC. 


Then  came  a  period  of  three  hundred  years,  during  which 
the  arts  gradually  improved,  and  during  which  the  greatest 
tragic  poets,  historians,  and  philosophers  of  Greece  flourished. 
From  the  death  of  Phidias  to  the  time  of  Alexander  the  Great, 
the  arts  and  sciences  continued  in  a  state  of  perfection ;  after 
Avhich  they  began  to  decline. 

In  these  early  ages,  poetry  and  music  were  so  much  united, 
that  all  the  lyric,  elegiac,  and  even  epic  bards,  were  neces- 
sarily musicians  by  profession.  The  first  of  these  poeU 
mnsicians  upon  record,  after  Homer  and  Hesiod,  was  Thale- 
tas,  a  native  of  Crete.  Plato  and  Plutarch  agree  in  celebrat- 
ing his  skill  both  in  music  and  poetry;  his  captivating  voice; 
and  his  Odes,  which  he  enforced  by  the  sweetness  of  his 
melody. 

He  invented  Pceans,  and  new  measures  in  verse  as  vv^ell  as 
rhythms  in  music.  The  Spartans  long  continued  to  sing  his 
airs;  and  he  was  the  first  who  composed  the  liyporclicmes 
for  the  armed,  or  military  dance.  This  was  a  kind  of  poetry, 
composed  not  only  to  be  sung  to  the  sound  of  flutes  and  citha- 
ras,  but  to  be  danced  at  the  same  time.  The  Italian  term 
hallatc/j  the  French  bai  ade,  the  English  ballad  had  former- 
ly the  same  import — meaning  a  song,  the  melody  of  which 
was  to  regulate  the  time  of  a  dance. 

There  was  another  poet  and  musician  of  the  name  of  Tha^- 
letas,  whe  lived  in  Crete  673  years  before  Christ.  It  was 
said  that  by  the  sweetness  of  his  lyre  he  delivered  the  Lace- 
demonians from  the  pestilence. 

Archilochus  was  born  about  686  years  B.  C.  He  invented 
dramatic  melody ;  which  in  modern  language  might  be  called 


MUSIC. 


221 


recitative  to  strict  measure.  He  was  the  son  of  Telesiclas,  a 
person  of  iiigh  rank,  and  of  Enisso,  a  slave.  He  was  born  at 
Paros.  Having  gone  into  the  army,  he  displayed  more  fleet- 
ness  than  courage  in  the  first  engagement  at  which  he  was 
present;  lost  his  buckler,  and  saved  his  life.  *  It  is  much 
easier,'  said  he,  '  to  get  a  new  buckler,  than  a  new  existence.' 
In  consequence,  he  lost  his  reputation;  the  daughter  of 
Lycambes  to  whom  he  was  betrothed,  refused  to  marry  him. 
His  life  was  but  a  tissue  of  disgrace  and  resentment.  He 
was  at  war  with  the  world,  and  the  world  with  him.  The 
rage  of  Archilochus  became  a  proverbial  expression,  and  pro- 
voking this  satyrist,  was  compared  to  treading  upon  a  ser- 
pent. 

He  made  many  useful  discoveries  in  music,  as  for  instance, 
in  the  sudden  transition  from  one  rhythm,  to  another  of  a  dif- 
ferent kind, — that  is,  of  a  different  time;  as  from  triple  time  to 
common  time,  which  in  ancient  music  was  called,  from  iambic 
rhythm,  to  dactylic  rhythm. 

Archilochus  was  generally  victor  at  the  Pythic  games;  and 
at  the  Olympic,  he  sung  in  full  assembly,  his  famous  hymn  to 
Hercules,  which  procured  him  the  crown  of  victory,  and  the 
applause  of  all  Greece,  where  his  name  was  revered  equally 
with  that  of  Homer. 

TyrtcEus,  an  Athenian  General,  is  greatly  celebrated  for  the 
composition  of  military  songs  and  airs,  as  well  as  for  his  per- 
formance of  them.  He  is  also  said  to  have  invented  a  new 
military  flute,  or  clarion,  to  the  animating  sound  of  which,  the 
Spartans  attributed  their  victory  over  the  Messenians,  B.  C. 
685. 


222 


MUSIC. 


All  the  ancient  writers  agree  in  praising  the  talents  and 
musical  discoveries  of  Terpander,  born  671  years  B.  C.  It 
was  said  that  he  added  three  strings  to  the  lyre.  He  was  at 
least  the  first  who  introduced  the  seven-stringed  lyre  at 
Lacedaemon.  He  is  also  said  to  have  invented  notation. 
Thus  melody,  which  before  depended  upon  memory  or  tradi- 
tion, was  preserved.  The  merit  of  this  invention  is  however 
by  many  denied  to  Terpander,  and  given  to  Pythagoras,  who 
lived  two  centuries  afterwards. 

At  the  Olympic  games,  musical  contests  formed  the  chief 
part  of  the  exhibitions.  The  Emperor  Nero  disputed  the 
prize,  which  we  may  easily  believe  to  have  been  conceded  to 
him  without  difficulty. 

At  the  Pythic  games,  the  prize  was  given  to  him  who  had 
written  and  sung  the  best  hymn  in  honor  of  Apollo.  At  the 
close  of  the  Orissoean  war,  prizes  were  proposed  by  the 
Amphyctyons,  not  only  for  those  musicians  who  sung  best  to 
the  accompaniment  of  the  cithara,  which  at  first  was  the  only 
contest  at  the  Pythian  games,  but  to  those  who  should  sing 
best  to  a  flute  accompaniment,  and  also  who  should  perform 
best  on  the  flute  alone.  This  was  the  first  separation  between 
music  and  poetry. 

Sacadas  was  the  first  who  distinguished  himself  in  this  way, 
by  performing  the  Pythic  air  on  his  flute.  After  this,  Pytho- 
critus  gained  the  prize  at  Delphos,  as  a  solo  player  on  the 
flute,  six  different  times. 

Although  the  Spartans  banished  science  as  inconsistent 
with  their  warlike  pursuits,  they  encouraged  music  and  poetry. 
All  the  evolutions  of  their  army  were  made  to  the  sound  of 


MUSIC. 


military  music.  Agesilaus,  being  asked  why  the  Spartans 
marched  and  fought  to  the  sound  of  flutes,  answered,  that 
when  all  moved  regularly  to  music,  it  was  easy  to  distinguish 
a  brave  man  from  a  coward. 

The  musician  Alcman  was  a  native  of  Sardis,  and  lived  670 
years  before  Christ.  He  was  one  of  the  great  musicians  who 
were  called  to  Lacedaemon  by  the  exigencies  of  the  state,  and 
was  invited  to  Sparta  to  sing  his  patriotic  airs  to  the  sound  of 
the  flute.  He  was  remarkable  for  musical  genius,  and  vora- 
cious appetite;  and  is  numbered  by  (Elian  among  the  greatest 
gourmands  of  antiquity. 

Aglais  was  a  musical  lady,  famous  for  sounding  the  trum- 
pet, and  for  eating  a  marvellous  quantity. 

Alcoeus,  the  cotemporary  and  admirer  of  Sappho,  was  bora 
at  Mitylene  in  Lesbos,  604  years  before  Christ.  Like  Archi- 
lochus  he  entered  the  army  in  his  youth;  and  like  him,  lost 
his  shield  and  his  honor  in  his  first  engagement.  He  set  up 
however  as  a  reformer  of  the  government,  and  seems  to  have 
been  possessed  of  a  perturbed  spirit  unsuitable  to  the  tranquil 
pleasures  afforded  by  the  study  of  music  and  poetry.  He 
composed  various  hymns,  odes  and  epigrams,  and  was  one  of 
the  greatest  lyric  poets  of  antiquity. 

Sappho,  the  celebrated  poetess,  is  said  to  have  invented  the 
Mixolydian  mode,  higher  by  half  a  tone,  than  the  Lydian. 

Mimnermus,  at  the  beginning  of  the  sixth  century,  was 
famous  for  performing  an  air  on  the  flute,  called  Cradias, 
usually  played  at  Athens  when  the  victims  were  led  in  pro- 
cession to  sacrifice.  Simonides  the  poet  is  said  by  Pliny  to 
have^dded  the  eighth  string  to  the  lyre. 


224 


MUSIC. 


Pindar,  born  in  Boeotia,  520  years  B.  C,  was  the  son  of  a 
flute-player  by  profession,  and  received  his  first  musical 
instruction  from  his  father.  He  then  studied  under  Myrtis 
a  lady  of  distinguished  abilities  in  lyric  poetry,  and  during  that 
period  became  acquainted  with  Corinna  the  poetess,  who 
afterwards  vanquished  him  five  times  at  Thebes,  in  public 
contest  for  the  prize  of  music  and  poetry. 

The  odes  of  Pindar  were  first  sung  in  the  Prytanoeum,  or 
town-hall  of  Olympia.  Here  they  were  rehearsed  by  a 
chorus,  accompanied  by  instruments,  and  were  afterwards 
sung  at  the  triumphal  entry  of  the  victor  whose  achievements 
they  celebrated,  into  his  own  country. 

The  musical  contests  at  the  Pythian  games,  continued  till 
the  final  abolition  of  these  games,  when  Christianity  was  estab- 
lished. 

At  the  Nemoean  games  also,  prizes  were  instituted  for 
music.  When  Philopoemon  was  chosen  a  second  time  gen- 
eral of  the  Achaeans,  he  happened  to  enter  the  theatre,  at 
the  moment  when  the  musician  Pylades,  was  singing  to  his 
lyre,  these  words  from  a  song  composed  by  Timotheus, 

*  Behold  the  hero,  from  whose  glorious  deeds 
Our  greatest  blessing,  liberty,  proceeds  !  ' 

The  assembly  instantly  cast  their  eyes  upon  Philopoemon^ 
and  with  loud  shouts  of  applause,  showed  that  they  considered 
the  verses  as  applicable  to  him. 

Timotheus,  the  cotemporary  of  Philip  of  Macedon,  was 
one  of  the  most  celebrated  poet-musicians  of  antiquity.  He 
was  born  at  Miletus,  in  Caria,  346  years  B.  C.    He  excelled  ia 


MUSIC. 


225 


his  performance  on  the  cithara;  and  is  said  to  have  perfected 
that  instrument. 

He  was  accused  of  corrupting  the  simplicity  of  the  Spartan 
music,  by  adding  new  strings  to  the  lyre,  and  extending  the 
musical  scale.  This  appeared  so  grave  an  offence  at  Sparta, 
that  an  act  was  passed  by  the  Ephori,  passing  censure  upon 
Timotheus,  as  one  who  had  *  given  to  music  an  effeminate 
and  artificial  dress,'  and  as  having  corrupted  the  ears  of  the 
Spartan  youth,  by  introducing  a  greater  variety  of  notes; 
at  the  same,  ordering  him  to  cut  off  these  superfluous  strings, 
leaving  only  the  seven  tones. 

Timotheus  had  many  pupils,  but  exacted  a  double  price 
from  all  who  had  been  taught  before;  declaring  that  he 
would  rather  instruct  those  at  half  price  who  knew  nothing, 
than  have  the  trouble  of  unteaching  such  as  had  accquired 
bad  habits. 

Timotheus  died,  aged  ninety-seven,  two  years  before  the 
birth  of  Alexander  the  Great,  though  he  has  frequently  been 
confounded  with  another  Timotheus,  the  celebrated  player  on 
the  flute,  so  highly  esteemed  by  that  prince. 

At  the  Isthmian,  and  Panatheniran  games,  there  were  also 
premiums  for  music.  The  Thebans  in  general  piqued  them- 
selves upon  their  skill  in  flute-playing.  The  celebrated  flute- 
players  of  antiquity  are  innumerable.  Alcibiades,  happening 
to  see  himself  in  a  mirror  when  he  was  playing  on  that  instru- 
ment, was  so  shocked  at  the  distortion  of  his  countenance, 
that  he  threw  away  his  flute,  and  broke  it.  He  had  however 
the  illustrious  example  of  Minerva,  for  a  similar  instance  of 
vanity.  We  are  told  that  Alcibiades  thus  put  the  flute  out  of 
fashion  among  young  men  of  rank  in  Athens. 


226 


MUSIC. 


Antigenides,  a  celebrated  epicure  as  well  as  musician, 
increased  the  number  of  holes  in  the  flute,  which  extended  its 
compass.  He  was  the  first  who  appeared  in  public  with  deli- 
cate Milesian  slippers,  and  a  saffron-colored  robe.  He  was 
so  aware  of  the  coarse  taste  of  the  common  people  in 
Greece  with  regard  to  music,  that  one  day,  hearing  at  a  dis- 
tance a  violent  burst  of  applause  to  a  player  on  the  flute,  he 
observed,  '  There  must  be  something  very  bad  in  that  man's 
performance,  or  those  people  would  not  be  so  lavish  of  their 
approbation.' 

The  taste  for  vociferous  music  among  the  Greeks,  may  be 
guessed  at  from  an  anecdote  related  of  a  young  flute-player, 
named  Harmonides,  who  began  a  solo  at  the  Olympic  games 
with  so  violent  a  blast  on  purpose  to  surprise  and  elevate  his 
audience,  that  he  breathed  his  last  breath  into  his  flute,  and 
died  on  the  spot. 

The  trumpet-players  at  these  exhibitions  used  as  we  are 
told  to  express  the  greatest  joy  when  they  found  that  they  had 
neither  rent  their  cheeks,  nor  burst  their  blood-vessels. 

Dorion  was  famous  as  a  musician,  poet,  and  epicure.  His 
wit  and  talents  made  up  for  his  gluttony,  and  rendered  him  a 
welcome  guest  wherever  he  went. 

Ismenias,  the  celebrated  musician  of  Thebes,  had  a  flute 
which  cost  him  three  talents,  or  £58  Is.  *  If,'  says  Xenophon, 
'  A  bad  flute-player  would  pass  for  a  good  one,  he  must,  like 
the  great  flute-players,  expend  large  sums  on  rich  furniture, 
and  appear  in  public  with  a  great  retinue  of  servants.' 

The  musicians  of  Greece  were  of  both  sexes,  and  the  beau- 
tiful Lamia  was  one  of  the  celebrated  flute-players  of  antiqui- 


MUSIC.  237 

ty.  An  exquisite  engraving  of  her  head,  upon  an  amethyst, 
is  in  the  king  of  France's  collection. 


CHAPTER  III. 

Music  after  the  time  of  Alexander  the  Great — Remarks  upon  ancienc 
Greek  music — On  modern  Greek  music — Of  musical  characters  amonfr 
the  ancient  Greeks — Their  multiplicity — 1  he  three  Genera — The  ditfer- 
ent  modes — Rhythm — Of  the  effect  said  to  have  been  produced  hy  aa- 
cient  music — Tne  two  musical  sects — Greek  authors  on  music — Of  Ro- 
man music — lis  style  and  proorress — Nero — Musical  instruments  of 
Greece  and  Rome. 

Between  the  time  of  Alexander  the  Great,  and  the  conquest 
of  Greece  by  the  Romans,  there  are  few  eminent  musicians 
upon  record.  Music,  like  painting,  poetry,  and  sculpture, 
was  progressive  in  Greece;  but  her  progress  was  slower  than 
that  of  her  sister  arts. 

The  first  attempts  at  music  in  Greece,  as  in  other  countries, 
must  have  been  rude  and  simple.  Rhythm  or  time  was 
attended  to  before  tone  or  melody.  Instruments  of  percus- 
sion preceded  all  others,  and  long  before  sounds  were  sus- 
tained or  refined,  steps  in  the  dance,  and  feet  in  poetry  were 
marked  with  precision. 

When  music  was  separated  from  poetry,  it  became  a  dis- 
tinct art;  and  from  being  the  humble  companion  of  poetry,  it 
became  her  sovereign.  The  Greek  philosophers,  however, 
always  complain  of  music  having  degenerated;  perhaps, 
because  an  art  at  one  time  sacred  to  religion,  wasi  used  ia 


228 


MUSIC. 


theatrical  amusements.  But  while  the  statues  and  paintings 
of  Greece  continue  to  delight  the  world,  her  ancient  music  is 
a  mere  matter  of  conjecture  to  the  curious;  and  it  is  observ- 
ed by  a  modern  author  that  modern  Greek  music  is  now  so 
far  from  being  a  standard  of  excellence  to  the  rest  of  the 
world,  that  none  but  themselves  are  pleased  with  it. 

No  ancient  people,  except  the  Greeks  and  Romans,  had 
musical  characters;  and  among  these,  the  letters  of  the 
alphabet  served  as  the  symbols  of  sound.  The  simple  method 
of  expressing  the  octave  of  any  sound  by  the  same  sign  as  in 
modern  music  was  not  known.  The  Greek  scale  consist- 
ed in  its  most  perfect  state  of  two  octaves,  which  the  ancients 
believed  to  be  the  greatest  interval  that  could  be  received  in 
modern  melody. 

Each  sound  had  a  different  denomination;  besides  which, 
there  were  two  characters,  one  vocal  and  the  other  instrumen- 
lal.  In  order  to  multiply  these  characters,  the  letters  of  the 
alphabet  were  sometimes  written  in  capitals  and  sometimes 
small;  some  were  entire,  some  mutilated,  some  doubled, 
some  lengthened;  some  were  inverted,  and  some  placed  hori- 
zontally. 

Finding  these  insufficient,  they  made  use  of  accents  also. 
These  united  to  the  letters,  produced,  in  all,  one  hundred  and 
twenty  different  characters,  and  these  being  changed  and  va- 
ried as  our  notes  are  by  different  keys,  produced  one  thousand 
six  hundred  and  twenty  notes!  Over  a  lyric  poem,  two  rows 
of  these  characters  were  written;  the  upper  for  the  voice,  and 
the  lower  for  the  instrument. 

This  multiplicity  of  notes  in  ancient  Greek  music  must  have 


MUSIC. 


229 


made  it  a  long  and  laborious  study,  even  at  a  time  when  the- 
art  itself  was  very  simple.  Plato,  though  unwilling  that  youth 
should  bestow  too  much  time  in  the  study  of  music,  allowed 
them  three  years  to  learn  the  elements;  but  at  the  end  of  that 
time,  a  student  was  hardly  capable  of  naming  all  the  notes,  or 
singini?  an  air  at  sight. 

In  ancient  music,  there  were  three  genera;  the  drotonic^ 
which  consisted  of  tones  and  semitones;  the  chromatic,  of 
semitones  and  minor-thirds;  and  the  enharmonic,  of  quarter- 
tones  and  major-thirds.  A  mode  in  ancient  music,  was  equiv- 
alent to  a  key  in  the  modern.  They  were  at  the  distance  of 
half  a  tone  from  each  other,  and  were  named  from  the  coun- 
tries where  they  were  invented.  Thus  we  hear  of  the  Lydian, 
Dorian  mode,  &c.  They  were  all  minor,  which  must  have 
given  a  very  melancholy  cast  to  their  melody. 

The  word  mode,  seems  sometimes  to  have  implied  time,  . as 
well  as  tone.  The  Lydian  measure  appears  to  have  been  ap- 
propriated to  songs  of  sorrow;  the  Dorian  to  martial  airs;  and 
the  Phrygian  to  religious  ceremonies. 

From  the  strict  union  of  poetry  and  music  among  the  an- 
cients, an  offence  against  rhythm,  or  time,  must  have  been  un- 
pardonable; destroying  the  beauty,  and  sometimes  the  mean- 
ing of  the  poetry.  They  therefore  not  only  beat  time  both 
with  hands  and  feet,  but  with  shells  and  bones,  in  order  to 
mark  it  distinctly,  which  must  have  produced  a  barbarous 
sound. 

The  wonderful  effects,  said  to  have  been  produced  by  music, 
among  the  ancients,  have  induced  many  to  suppose  that  the 
art  must  have  been  brought  to  great  perfection  among  them. 


230 


MUSIC. 


Biit  besides  that  half  of  these  stories  are  poetical  allegories, 
we  must  recollect  that  the  effect  of  music  on  the  multitude 
does  not  prove  its  refinement,  but  the  reverse. 

A  simple  melody,  with  popular  words,  will  transport  a  whole 
audience;  while  the  most  learned  performance  in  an  opera  or 
oratorio,  will  have  no  effect  upon  them  whatever. 

The  two  great  musical  sects  among  the  ancients,  were  the 
Pythagoreans  and  Aristoxemans.  Their  founders,  Pythago- 
ras and  Aristoxenes,  together  with  Lasus,  Euclid,  and  Ptole- 
my, were  the  most  illustrious  musical  theorists  of  antiquity. 

Though  the  Romans  were  indebted  to  the  Greeks  for  most 
of  their  arts  and  sciences,  yet  as  there  is  no  nation  so  savage, 
which  has  not  originally  some  music  of  its  own,  it  appears 
that  the  Romans  had  in  very  high  antiquity,  a  rude  music  pecu- 
liar to  them,  and  had  imitated  the  Etruscan  musical  establish- 
ments, both  in  their  army  and  temples.  But  the  Romans, 
more  military  than  refined,  never,  either  in  music  or  songs, 
approached  the  elegance  of  the  Greeks.  It  seems  as  if  melo- 
dy had  always  remained  in  a  rude  and  coarse  state  amongst 
them.  Their  hymeneal  odes  were  rather  noise  and  clamor 
than  music,  and  it  is  not  probable  that  their  military  songs  were 
more  harmonious. 

Towards  the  latter  end  of  the  republic,  music  however  was 
in  great  favor  at  Rome,  as  also  in  the  voluptuous  reigns  of  the 
emperors.  It  was  employed  in  the  theatres,  temples,  and 
banquetting-rooms;  but  it  appears  to  have  been  entirely  bor- 
rowed from  the  Greeks,  as  well  as  the  instruments  of  music 
in  use  among  the  Romans. 

Nero,  in  the  year  60  after  Christ,  instituted  exercises  of 


f 


MUSIC.  28i 

music,  and  soon  after  sung  in  public  on  the  stage  at  Naples, 
Afterwards,  having  gone  to  Greece,  he  disputed  the  prize  with 
the  best  performers  there,  and  returned  to  Italy  with  eighteen 
hundred  prizes,  which  he  had  extorted  from  his  judges.  He 
took  peculiar  care  of  his  voice,  and  had  an  officer  about  his 
person  to  admonish  him  when  he  spoke  too  loud.  If  the  em- 
peror, transported  by  sudden  passion,  did  not  listen  to  his  re- 
monstrances, the  officer  had  orders  to  stop  his  mouth  with  a 
napkin. 

The  musical  instruments,  which  were  the  same  in  ancient 
Greece  and  Rome,  were  of  three  kinds;  wind  instruments,  of 
which  the  principal  were  the  flute,  horn,  syrinx,  trumpet,  and 
water  organ;  stringed  instruments,  which  included  the  harp, 
cithara,  lyre,  ^and  psaltery;  find  instruments  of  percussion, 
such  as  drums,  cymbals,  and  bells. 


CHAPTER  IV. 

Early  admission  of  music  into  the  cluirchrs,  both  Pa^an  and  Christian — 
The  Anibrosian  and  Grerroiian  cluirch — The  h:irp  and  psaltry  admitted 
into  churches — First  ornran  known  in  France— Music  cultivated  by  the 
Monks — Music  in  the  dark  ages — Ohliirations  due  to  Italy  in  regard  to 
music — Invention  of  counterpoint  hv  Guido  Aretinus — Some  account  of 
his  life  and  works — Odo,  abbot  of  Cluni — Importance  of  time  in  music, 
and  invention  of  tlie  time-table — John  do  Muris — Magister  Franco — 
Fashion  both  in  harmony  and  melod}'. 

Music  had  early  admission  into  the  churches  among  the  an- 
cients. In  pagan  ceremonies,  the  prayers  and  praises  ofl^ered 
up  to  the  gods  were  songs  and  chorusses,  accompanied  both 


232 


MUSIC. 


by  music  and  dancing.  The  early  Christians  also  sang  hymns 
and  psalms;  as  we  read  in  the  Acts  of  the  Apostles,  where 
we  are  told  that  at  midnight  Paul  and  Silas  in  their  dungeon 
prayed,  and  sang  praises  unto  God. 

In  A.  D.  384,  during  the  reign  of  Constantine,  Ambrose, 
bishop  of  Milan,  introduced  into  the  church  that  species  of 
singing  called  the  Ambrosian  chant.  It  is  probable  that  he 
imported  it  from  the  east;  as  before  that  time  there  was  a 
regular  choir  established  in  the  church  at  Antioch.  An  order 
of  monks  also  were  settled  there,  who  were  obliged  to  preserve 
a  perpetual  psalmody,  as  rigidly  maintained  as  the  vestal  fire 
of  antiquity. 

After  the  time  of  St.  Ambrose,  no  memorable  change  took 
place  in  church  music  till  the  year  600,  when  Gregory  the 
Great  reformed  the  ecclesiastical  chant,  which  still  subsists, 
under  the  name  of  the  Gregorian  chant,  in  most  of  the  cathe- 
drals of  France  and  Italy. 

Church  music  has  now  become  venerable  from  its  antiquity, 
and  the  use  to  which  it  is  solely  appropriated.  Its  simplicity 
and  total  difference  from  secular  music,  prevent  levity  in  the 
composition,  as  well  as  in  the  performance.  It  is  believed 
that  instruments  were  admitted  into  the  churches  in  the  early 
ages,  but  not  indiscriminately.  The  harp  and  psaltery,  being 
considered  most  grave  and  majestic,  were  preferred  to  all 
others. 

In  the  eighth  century,  St.  John  Damascenes  compiled  and 
reformed  the  chants  in  the  Greek  church,  as  St.  Gregory  had 
done  in  the  Roman. 

In  the  early  ages  of  Christianity,  musical  missionaries  were 


MUSIC. 


233 


sent  from  Rome  to  the  other  parts  of  Europe,  to  instruct  the 
converts  of  the  gospel,  in  church  melody.  Augustine,  the 
monk,  was  sent  for  this  purpose  to  England,  by  Pope  Grego- 
ry; and  in  680,  Pope  Agatho,  sent  John,  the  Pra3centor  of 
St.  Peters  at  Rome,  to  instruct  the  monks  of  Weremouth  in 
the  art  of  singing,  and  performing  the  festival  services  through- 
out the  year,  as  in  Rome.  Missionaries  of  the  same  nature 
were  also  sent  to  France,  where  the  French  disputed  with 
them,  as  to  superiority  in  singing;  and  commenced  that  rival- 
ry still  subsisting  between  the  musicians  of  France  and  Italy. 

These  circumstances  account  for  the  similarity  of  church 
music,  all  over  Europe,  at  the  time  of  the  Reformation.  Ro- 
man music  and  sin^inj;  were  as  much  in  favor  in  England,  dur- 

DO  D  ' 

ing  the  middle  ages,  as  Italian  compositions  and  opera-sing- 
ers are  at  present. 

Alfred  the  Great  encouraged  music,  and  was  himself  anex- 
cellent  musician.  The  story  of  his  entering  the  Danish  camp, 
in  the  disguise  of  a  harper,  is  well  known.  St.  Dunstan  also 
was  so  good  a  musician,  that  he  was  accused  of  magic. 

In  514,  the  hydraulicon,  or  water-organ,  began  to  lose  its 
favor,  and  the  wind-organ,  blown  by  hand-bellows,  became 
common.  In  the  seventh  century,  Pope  Vitalian  introduced  it 
into  the  church-service  at  Rome,  and  in  757,  King  Pepin  re- 
ceived from  Gonstantine  VI.,  a  present  of  the  first  organ  ever 
seen  in  France.  The  invention  may  therefore  be  attributed  to 
the  Greeks.  In  the  tenth  century,  the  organ  became  com- 
mon both  in  England,  Italy,  and  Germany,  and  was  received 
into  the  convents  and  churches. 

Music  employed  much  of  the  leisure  of  the  monks  in  their 
16 


231 


MUSIC. 


retirement;  and  the  clergy,  who  were  better  skilled  in  the  lib- 
eral arts  than  any  other  condition  of  men  in  these  ages,  both 
cultivated  music  themselves,  and  taught  it  to  others. 

During  the  dark  ages,  no  works  of  taste  or  genius  in  any 
art  were  produced.  Music  consisted  merely  of  such  chants  as 
were  applied  to  the  psalms  and  hymns  of  the  church;  and,  ex- 
cept in  Italy,  was  neglected  like  all  the  other  polite  arts. 

The  Goths,  Vandals,  and  other  barbarians  had  seized  on 
the  most  fertile  provinces  of  Europe,  l^heir  ideas  were  sav- 
age, their  language  harsh,  and  one  on  which  little  vocal  melo- 
dy could  be  formed.  All  the  dialects  of  Europe  are  still  a 
mixture  of  Celtic  and  Latin,  and  more  vestiges  of  the  Latin 
tongue  still  remain  in  Italy  than  elsewhere.  Italian,  so  suited 
to  vocal  music  by  its  softness,  is  Latin  corrupted,  and  some- 
times softened  and  improved. 

At  the  courts  of  the  Roman  pontiffs,  music,  along  with  the 
other  arts,  met  v/ith  more  early  encouragement  than  in  any 
other  country.  It  is  from  Italy  that  modern  music  derives  its 
scale,  its  counterpoint,  its  best  melodies,  its  religious  and 
secular  dramas,  and  the  chief  beauties  and  graces  of  modern 
music.  Thus  Italy  in  modern  times,  has  been  to  the  rest  of 
Europe  what  ancient  Greece  was  to  Rome. 

Counterpoint,  or  music  in  parts,  was  said  to  have  been  in- 
vented in  the  year  1022,  by  Guido,  a  monk  of  Arezzo,  in 
Tuscany.  To  this  celebrated  monk,  numerous  musical  inven- 
tions are  attributed.  His  work,  entitled  the  Micrologus,  (from 
a  Greek  word  signifying  compendium,)  is  a  treatise  in  monk- 
ish Latin,  full  of  obscurities,  and  containing  his  method  of  teach- 
ing boys  to  sing,  with  rules  for  the  proper  performance  and 
composition  of  the  plain  chants. 


MUSIC. 


235 


Guido,  who  belonged  to  the  order  of  St.  Benedict,  excited 
the  envy  of  his  brethren  by  his  success  in  music.  Pope  Ben- 
edict VIII.,  hearing  of  his  discoveries  in  that  art,  sent  for 
him  to  Rome,  where  he  was  treated  with  much  kindness, 
though  he  did  not  remain  long  absent  from  his  convent. 

But  John  XX.  renewed  this  invitation,  upon  his  suc- 
cession to  the  papal  chair.  Guido  accepted  it,  and  having 
shown  the  Pope  his  Antiphonarium,  or  notation  of  the  mass 
for  the  whole  year,  his  Holiness,  regarding  it  as  a  prodigy, 
would  not  quit  his  seat,  till  he  liad  learned  to  sing  a  chant  in 
it,  by  Guido's  new  method. 

Unable  to  bear  the  heat  of  Rome  in  summer,  Guido  quitted 
that  city,  and  paid  a  visit  to  the  Abbot  of  Pomposo  at  Ferrara, 
who  pressed  him  so  strongly  to  remain  in  his  convent,  that  he 
consented,  and  there  composed  several  of  his  musical  tracts. 

He  is  said  to  have  invented  the  gamtmit,  and  to  have  called 
it  so,  because  he  added  the  Greek  letter  Gamma  to  the  scale. 
He  also  first  suggested  the  use  of  lines  and  spaces  together. 
Many  other  important  discoveries  in  music  are  attributed  to 
Guido  Aretino:  his  reputation  has  lasted  more  than  750  years, 
and  his  name  still  remains  respectable  among  musicians,  for 
the  services  which  he  rendered  to  the  art. 

Odo,  Abbot  of  Cluni  in  Burgundy,  was  another  learned 
musician  of  this  period,  and  his  hymns,  chants,  and  anthems, 
are  still  preserved  in  the  Romish  church. 

Before  the  invention  of  characters  for  time,  music  must  have 
consisted  of  simple  counter-point,  or  note  against  note,  as  is 
still  used  in  churches.  Time  is  of  such  importance  in  music, 
that  it  can  give  meaning  and  energy  to  a  repetition  of  the 
16* 


236 


MUSIC. 


same  sound.  Thus  a  drum  seems  to  express  different  tunes, 
when  it  only  changes  the  accents  and  measure  of  a  single 
sound. 

The  invention  of  a  time-table  is  given  by  the  best  writers  to 
John  de  Muris,  who  flourished  about  1330.  But  in  a  manu- 
script of  John  de  Muris  hmiself,  bequeathed  to  the  Vatican 
library  by  the  queen  of  Sweden,  he  gives  the  honor  of  this 
important  discovery  to  Magister  Franco,  a  learned  scholastic 
of  Liege,  who  lived  in  1083. 

Franco  appears  also  to  have  first  suggested  the  use  of 
hars  in  m.usic.  It  seems  wonderful  that  the  immutable  laws 
of  harmony  should  be  subject  to  the  caprices  of  fashion;  yet 
such  is  undoubtedly  the  case.  Concords  which  we  consider 
perfect  were  rejected  by  former  ages.  When  men  became 
tired  of  the  monotony  of  unisons  and  octaves,  the  fourth  be- 
came their  favorite  interval.  Then  thirds  were  considered 
more  pleasing;  and  in  Corelli's  time,  a  chain  of  sevenths  was 
thought  necessary  to  combine  harmony. 

That  there  is  a  fashion  in  melody,  is  less  surprising. 
Even  language,  though  not  like  music  ideal  and  arbitrary,  is 
as  temporary  and  local  to  the  ears  of  those  that  are  accustom- 
ed to  it,  as  the  arrangement  of  sounds  in  melody,  and  the 
combination  of  sounds  in  harmony. 

A  new  formed  language  or  melody  is  polished  by  imper- 
ceptible degrees;  and  there  is  some  music  which  would  now 
sound  as  absurd  to  us,  as  the  language  of  Chaucer  would  ap- 
pear if  spoken  by  a  gentleman  of  our  own  times.  It  is  this  ca- 
price of  fashion  which  renders  the  favor  of  musical  compositions 
so  transient.    The  works  of  poets,  painters,  and  architects, 


MUSIC. 


237 


remain  to  delight  posterity,  but  the  works  of  a  musician,  de- 
pending for  their  perfect  execution  on  the  various  powers  of 
voices,  instruments,  and  performers,  have  little  chance  of  ob- 
taining immortality. 


CHAPTER  V. 

Of  Troubadours  in  the  eleventli  century — Old  Provenc^al  melodies — The 
Lay  of  king  Richard — The  son^  of  Blondel — Anselm  Faidit — Songs  in 
the  thirteenth  century — The  harp — The  viol — Jonglerie — Company  of 
minstrels — They  fall  into  disrepute — Tiie  song  of  Roland — The  ballads 
of  Chatelain  de  Coucy — Musical  instruments  used  in  France — French 
music  in  the  fourteentii  century — Italian  music  in  the  middle  ages — Mu- 
sic at  the  time  of  Petrarca — At  the  time  of  Boccaccio — Francesco  Cieco — 
— Antonio — Music  of  the  Cambro-Britons — The  Welsh  bards — Their 
extirpation — Music  in  England  in  the  fourteenth  century — In  Germany 
at  the  same  period — Now  divisions  of  the  musical  scale — Invention  of 
discord — Melody  netrlected — Harmony  improved — Spanish  and  Flemish 
composers — Okenlieim — Tosquin — Arrigo  .ledesco —  Hobrecht —  Pierre 
de  la  Rue — Music  in  England  till  the  Reformation — Chief  composers. 

In  the  eleventh  century,  durini;  the  first  Crusade,  Europe  began 
to  emerge  from  barbarism.  With  poetry,  music,  and  chivalry, 
the  Troubadours  rose  into  favor.  They  were  received  at  the 
courts  of  kings.  They  sung  the  praises  of  the  high-born 
beauties  of  the  court,  and  the  greatest  barons  and  piinces, 
who  cultivated  music  themselves,  treated  them  with  friendship 
and  honor. 

In  the  simple  tunes  of  these  bards  of  Provence,  we  may 
still  discover  the  germs  of  the  future  melodies  both  of  France 
and  Italy.    About  1119,  Provenoal  poetry  had  arrived  at  its 


238 


MUSIC. 


greatest  point  of  perfection,  and  was  sung  to  instruments. 
At  this  period,  violars,  or  performers  on  the  vialle,  or  viol, 
juglars,  or  flute-players,  players  on  many  other  instruments, 
and  coinics,  or  comedians,  abounded  all  over  Europe.  Under 
the  general  name  of  Jongleurs,  they  travelled  from  province 
to  province,  singing  their  verses  at  the  courts  of  kings  and 
princes,  who  rewarded  them  with  clothes,  horses,  arms  and 
money. 

The  Lay,  or  Song  of  Complaint,  written  by  King  Richard 
I.  during  his  imprisonment  in  Germany  on  his  return  from 
Palestine,  is  one  of  the  earliest  specimens  of  romance  poetry 
which  remains. 

The  French  song,  which  his  minstrel  Blondel  sung  under 
the  windows  of  the  black  tower  where  Richard  was  confined, 
is  still  extant.  The  King  and  Blondel  had  composed  it 
together,  and  when  King  Richard  heard  it  he  knew  it  could 
be  no  other  than  Blondel  who  sung,  and  he  took  up  the  strain, 
and  finished  it. 

Anselm  Faidit  was  a  troubadour,  patronised  by  Richard  ; 
and  one  of  the  most  ancient  melodies  extant  was  composed  by 
him  on  the  death  of  his  benefactor.  In  these  simple  melodies, 
no  time  is  marked,  nor  is  there  much  variety  of  notation. 

In  the  thirteenth  century  the  songs  were  of  various  kinds; 
moral,  merry,  plaintive  and  lively  melody,  seems  to  have  been 
little  more  than  plain  song  or  chanting,  the  embellishments  of 
which  depended  on  the  abilities  and  taste  of  the  singer. 

The  harp  passed  for  the  most  noble  and  majestic  of  instru- 
ments, and  the  romancers  place  it  in  the  hands  of  their  heroes, 
as  the  ancient  Greek  bards  did  the  lyre.    A  poet  of  the  four- 


MUSIC. 


239 


teenth  century,  Machan,  wrote  a  poem  in  its  praise,  in  which 
he  confines  its  use  only  to  knights,  esquires,  and  ladies  with 
beautiful  hands.  *  Its  courteous  and  gentle  sounds,'  he  says, 
*  should  be  heard  only  by  the  elegant  and  good.' 

The  instrument,  which  frequently  accompanied  and  disputed 
pre-eminence  with  the  harp,  was  the  viol.  Till  the  sixteenth 
century,  this  instrument  was  furnished  with  frets;  after  that 
period,  it  was  reduced  to  four  strings;  and  still,  under  the  de- 
nomination of  violin^  it  holds  the  first  place  among  treble  instru- 
ments. The  viol  was  played  with  a  bow,  and  diflered  entirely 
from  the  vielle,  the  tones  of  which  were  produced  by  the  fric- 
tion of  a  wheel;  the  wheel  performed  the  part  of  a  bow. 

The  term  Jonglicric,  in  old  French,  included  four  diflx'rent 
species  of  performers;  the  troubadours,  who  wrote,  set,  and 
sung  their  own  verses;  the  singers,  employed  by  those  poets 
and  composers,  to  whom  nature  had  denied  a  voice;  the  di- 
seurs,  narrators,  or  romancers,  who  in  a  kind  of  chant  recited 
their  metrical  histories,  and  the  players  upon  instruments,  who 
accompanied  the  troubadours  and  singers,  or  performed  at 
feasts  and  revels  without  sin^in^. 

In  1330,  the  minstrels  formed  themselves  into  a  company, 
and  obtained  a  charter.  On  account  of  their  disorderly  con- 
duct, they  were  banished  by  Philip  Augustus.  His  successors 
recalled  them,  and  they  were  united  under  the  general  name 
of  Mmcstraudic,  minstrelsy;  having  a  chief  appointed  over 
them,  called  King  of  the  Minstrels.  They  lived  in  a  particu- 
lar street  in  Paris,  still  called  St.  Julien  des  Menestriers. 
They  played  at  all  weddings  and  parties  of  pleasure;  but  in 
1395,  their  immoral  conduct  again  called  forth  the  censure  of 
the  government. 


240 


MUSIC. 


Thus,  though  restored  to  public  favor,  the  order  had  greatly 
fallen  into  disrepute.  Troubadours  were  no  longer  received 
with  respect.  Yet  they  were  in  a  great  measure  the  fathers 
of  literature  in  France.  They  also  polished  the  manners,  es- 
tablished the  rules  of  politeness,  and  refined  the  rudeness  of 
its  inhabitants. 

The  famous  song  upon  Roland  continued  in  favor  with  the 
French  soldiery,  so  late  as  the  battle  of  Poictiers,  in  the  time 
of  their  King  John;  and  when  he  reproached  one  of  them  for 
singing  it  when  there  were  no  Rolands  left,  the  soldier  an- 
swered that  Rolands  would  soon  be  found,  had  they  a  Charle- 
magne at  their  head. 

Among  the  most  ancient  songs  on  the  subject  of  Love, 
which  are  preserved  in  the  French  language,  are  those  of  the 
unfortunate  Chatelain  de  Coucy,  who,  having  gone  to  the  Holy 
Land,  entreated  his  esquire  to  have  his  heart  embalmed,  in 
the  event  of  his  death,  and  sent  to  the  Lady  of  Fayel  in  Picar- 
dy,  in  a  little  casket,  together  with  a  purse  of  silk  and  hair, 
which  she  had  worked  for  him. 

But  the  Lord  of  Fayel,  having  met  the  esquire  as  he  was 
entering  the  castle  with  the  casket  in  his  hand,  seized  upon  it, 
dismissed  the  esquire,  and  ordered  the  cook  to  serve  up  the 
embalmed  heart  for  dinner,  with  a  sauce  to  render  it  palatable. 
When  the  lady  was  told  that  she  had  dined  upon  the  heart 
of  the  Chatelain  de  Coucy,  she  retired  to  her  chamber,  and 
starved  herself  to  death. 

In  the  time  of  Philip  de  Valois,  more  than  thirty  musical 
instruments  were  known  in  France.  Among  these,  were 
harps,  flutes,  hautboys,  bassoons,  trumpets,  guitars,  bagpipes, 


MUSIC. 


241 


viols,  rebecs,  organs,  8lc.  Some  songs  are  still  extant,  written 
by  Thibaut,  King  of  Navarre,  and  addressed  to  Queen  Blanche 
of  Castile. 

In  the  fourteenth  century,  music  in  parts,  moving  in  differ- 
ent melodies,  came  into  general  favor.  Of  these  old  songs, 
both  the  words  and  music  are  difficult  to  read;  the  words  from 
being  nearly  effaced,  and  the  music,  from  being  without  bars. 

With  respect  to  the  music  of  the  middle  ages  in  Italy,  it 
does  not  appear  to  have  wholly  perished,  f  In  1268,  when 
Prince  Conrad  marched  against  Charles  I.,  of  Sicily,  we  are 
told  of  a  chorus  of  women  who  sung  through  the  streets,  ac- 
companied with  cymbals,  viols,  drums,  &c.  In  13G8,  Lionel, 
Duke  of  Clarence,  having  married  a  daughter  of  the  proud 
house  of  Visconti,  gave  five  hundred  superb  dresses  to  the 
minstrels  who  attended. 

The  most  ancient  melodies  existing  in  Italy  are  a  collection 
of  sacred  songs,  supposed  to  have  been  brought  there  by  the 
pilgrims  who  went  to  the  Holy  Land.  In  1310,  a  society  was 
formed  at  Florence,  for  the  performance  of  these  religious 
poems.  This  company  still  subsists,  and  the  members  of  it 
frequently  sing  their  hymns  through  the  streets  in  parts,  accom- 
panied by  an  organ. 

Every  nation  in  Europe  has  produced  good  poetry  before 
it  could  boast  of  good  melody,  and  when  the  sonnets  of  Petrar- 
ca  delighted  all  Italy  by  their  grace  and  beauty,  it  does  not 
appear  that  music  had  by  any  means  kept  pace  with  her  sister 
art.  We  are  indeed  told,  that  when  the  poet  was  crowned 
with  laurel  in  the  capitol,  two  choirs  of  music,  the  one  vocal, 
and  the  other  instrumental,  accompanied  the  processioOj  by 


242 


MUSIC. 


turns  producing  sweet  harmony.  And  from  this  it  is  inferred 
that  counterpoint,  and  singing,  and  playing  in  concert,  must 
have  been  in  some  measure  understood  in  Italy,  at  that  period. 

From  the  writings  of  Boccacio,  and  his  account  of  the  man- 
ner in  which,  during  the  dreadful  plague  at  Florence  in  1348, 
the  Florentines  amused  themselves  with  music  and  dancing  in 
order  to  banish  thought;  it  is  plain  that  there  were  two  kinds 
of  music  and  performers  in  his  time,  as  at  present.  One 
species  of  music,  was  a  plain,  simple,  and  popular  mel- 
ody, generally  understood.  The  other,  an  elaborate  and 
artificial  species  of  music,  which  could  only  be  played  by  sci- 
entific persons,  or  professors. 

The  most  illustrious  musician  of  this  period  in  Italy,  was 
Francesco  Ciero.  He  was  a  native  of  Florence,  and  being: 
deprived  of  sight  by  the  small-pox,  he  applied  himself  to  the 
cultivation  of  music.  He  was  celebrated  for  his  performance 
on  the  organ,  and  was  publicly  honored  at  Venice  by  receiv- 
ing the  laurel  crown,  in  the  presence  of  the  Duke  of  Venice. 
He  died  in  1390. 

Another  musician  named  Antonio  de  1  'Organi,  was  so  cele- 
brated for  his  skill  in  music,  that  the  most  eminent  musicians, 
of  England,  are  said  to  have  crossed  the  Alps,  in  order  to  hear 
his  performance. 

The  Cambro-Britons,  the  ancient  inhabitants  of  Britain, 
held  their  bards  in  high  reverence.  Songs  of  very  great  an- 
tiquity are  preserved  in  the  Welsh  language,  and  the  harp  to 
which  they  were  sung  was  no  less  in  favor  with  the  Saxons 
and  Danes  than  with  the  Britons.  The  bard,  in  Wales,  was 
the  eighth  officer  in  dignity  at  the  court.    He  had  a  place  in 


MUSIC. 


243 


the  royal  hall  next  to  the  steward  of  the  household.  Musie 
was  considered  an  accomplishment  necessar}'  to  the  educa- 
tion of  a  monarch;  and  to  sing  to  the  harp  was  requisite  to 
form  a  perfect  prince,  or  a  complete  hero. 

The  bounty  of  William  of  Normandy  to  his  bard  is  record- 
ed in  Doomsday  Book.  In  1271,  Edward  I.  took  his  harp- 
er with  him  to  the  Holy  Land.  And  when  Edward  was 
wounded  with  a  poisoned  knife  at  Ptolemais,  the  harper, 
hearing  the  struggle,  rushed  into  the  apartment,  and  killed 
the  assassin.  It  was  however,  this  monarch,  who  afterwards 
•extirpated  all  the  Welsh  bards. 

From  the  writings  of  Chaucer,  we  find  that  music  was  in 
high  estimation  in  England  during  the  14th  century.  The 
most  ancient  English  song  still  extant.  Is  one  written  in  1415, 
on  the  victory  of  Henry  V.  at  Agincourt.  About  that  peri- 
od, two  eminent  musicians  flourished  in  England,  John  Dun- 
stable, and  Dr.  John  Hambois.  The  latter  is  supposed  to 
have  been  the  first  musician  who  was  honored  with  the  de- 
gree of  Doctor  in  England. 

The  most  ancient  German  music  extant  is  that  set  to  the 
hymns  of  the  first  reformers,  though  there  can  be  no  doubt 
that  the  Germans  had  at  that  period  songs  in  their  own  lan- 
guage, set  to  melodies  formed  upon  the  Guido  scale.  But 
none  of  these  appear  to  have  been  preserved. 

Music  had  now  a  regular  and  extensive  scale  for  melody,, 
a  code  of  laws  for  harmony,  and  a  commodious  notation  and 
time-table.  Thus  musicians  were  furnished  with  the  whole 
mechanism  of  their  art.  After  the  invention  of  printing, 
music,  and  especially  counterpoint,  became  an  object  of  high 


244 


MUSIC. 


importance.  About  the  middle  of  the  15th  century,  the  scale 
re-ceived  six  divisions:  base,  baritono,  tenor,  contralto,  mez- 
zo-soprano, and  soprano.  The  natural  pitch  of  these  is  about 
three  or  four  notes  above  each  other. 

While  harmony  was  thus  becoming  more  refined,  it  was 
found,  like  other  sweet  and  luscious  things,  to  become  insipid 
for  want  of  contrast.  Then  a  mixture  of  discord  Was  intro- 
duced, like  a  shade  in  painting  to  subdue  a  bright  color. 
Discord,  in  music,  does  not  consist  in  a  defective  interval, 
which  would  produce  a  jargon;  but  in  the  artful  use  of  such 
combinations  which  are  too  disagreeable  for  the  ear  to  dwell 
upon,  yet  which  are  necessary  as  a  relief  to  harmony. 

In  the  mean  time,  while  harmony  was  improved,  melody  had 
been  long  neglected.  It  was  long  before  men  had  the  courage 
or  genius  to  invent  new  melodies.  In  the  15th  century,  we 
hear  of  harmony  in  four  parts  in  the  Pope's  chapel.  The 
composers  were  Netherlanders,  and  the  singers  Spaniards, 
And  before  the  year  1600,  there  were  eminent  composers, 
both  Spanish  and  Flemish.  The  encouragemeut  given  to  the 
liberal  arts  by  the  Emperors  Charles  IV.  and  Francis  I.  was 
undoubtedly  the  cause  of  the  progress  of  music  in  French 
Flanders  and  the  Spanish  Netherlands.  These  princes  lived 
less  in  their  capitals  than  elsewhere,  and  resided  frequently 
in  Brussels,  Antwerp,  Mons,  Carabray,  and  other  places. 

John  Okenheim,  a  native  of  Hainault,  is  the  oldest  composer 
in  parts,  whose  works  still  remain.  Josquin,  Isaac,  and 
Brumel,  were  composers  whose  works  surpass  in  excellence 
all  that  can  be  produced  of  equal  antiquity  by  the  inhabitants 
of  England,  Italy,  or  any  other  part  of  the  world.  The 


MUSIC. 


245 


masses  of  Josquin  are  still  highly  celebrated.  Some  suppose 
him  to  have  beea  a  native  of  Flanders,  while  others  consider 
him  an  Italian. 

The  chief  beauty  ol  his  works  consists  in  his  knowledge  of 
harmony,  as  there  was  then  little  melody,  and  no  grace  in  the 
arrangement  of  single  notes.  Arrigo  Tedesco,  or  Henry  Isaac, 
was  a  musician  of  great  reputation,  and  held  the  situation  of 
Maestro  di  Capella  of  the  church  of  St.  John  in  Florence. 
His  compositions  also  were  chiefly  ecclesiastical.  After  him, 
Jacob  Hobrecht,  a  Netherlander,  and  Pierre  de  la  Hue,  were 
the  most  eminent  contrapuntists  on  the  continent.  The  music 
of  these  composers  has  now  become  new  from  an  excess  of 
antiquity,  and  those  who  are  satiated  with  modern  melody, 
harmony,  and  modulation,  would  have  great  pleasure  in  lis- 
tening to  these  ancient  performances. 

In  England,  it  was  so  customary  for  the  old  poets  to  write 
new  words  to  old  tunes,  that  there  was  little  business  for  a 
composer.  Such  of  these  old  melodies  which  remain  are  sim- 
ple and  uncouth,  and  little  more  airy  than  the  chants  of  the 
church.  Harmony  however  had  in  the  middle  of  the  16th 
century  arrived  at  great  perfection  in  England.  The  compo- 
sitions were  almost  entirely  for  the  use  of  the  church,  but 
bear  a  stamp  of  national  originality,  and  do  not  resemble  the 
choral  productions  of  the  continent.  Among  the  most  emi- 
nent composers  were  Fairfax,  William  of  Newark,  Tavcrnen, 
Tudor,  Parsons,  and  John  Marbcck,  who  set  the  whole  English 
cathedral  service  to  music. 


246 


MUSIC. 


CHAPTER  VL 

In  what  modern  music  consists — Of  melody-^Consonance — Remarks 
on  national  music — Scotch,  Irish,  Tyrolese,  &c. 

Modern  music  consists  of  melody,  time,  consonance,  and 
dissonance.  By  melody  is  implied  a  series  of  sounds  more 
fixed,  and  generally  more  lengthened,  than  those  of  speech; 
arranged  with  grace,  and  with  respect  to  time,  of  proportional 
lengths,  such  as  the  mind  can  easily  measure,  and  the  voice 
express.  These  sounds  are  regulated  by  a  scale,  consisting 
of  tones  and  semitones;  but  admit  a  variety  of  arrangement, 
as  unbounded  as  imagination. 

Consonance  is  derived  from  a  coincidence  of  two  or  more 
sounds,  which  being  heard  together,  by  their  agreement  and 
union,  afford  the  utmost  pleasure  to  ears  capable  of  judging 
and  feeling.  The  combination  and  succession  of  concords  or 
sounds  in  consonance,  constitutes  harmony;  as  the  selection 
of  single  sounds  produces  melody. 

Dissonance  is  the  want  of  that  agreeable  union  between 
two  or  more  sounds,  which  constitutes  consonance  in  musi- 
cal composition.  It  is  occasioned  by  the  suspension  or 
anticipation  of  some  sound  before,  or  after  it  becomes  a  con- 
cord. 

Of  musical  tones  the  most  grateful  to  the  ear  are  such  as 
are  produced  by  the  voice;  and  the  most  pleasing  music  is  that 
which  approaches  the  nearest  to  vocal;  such  as  can  be  sus- 
tained, swelled,  and  diminished,  at  pleasure.    The  violin 
flute,  and  hautboys,  may  be  ranked  as  the  first  of  these.  The 


MUSIC.  347 

instrument  which  produces  the  greatest  effect  is  the  organ; 
but  it  is  imperfect,  both  in  expression  and  intonation.  With 
respect  to  excellence  of  style  and  composition,  it  may  be 
said  that  to  practised  ears,  the  most  pleasing  music  is  such 
as  has  the  merit  of  novelty,  added  to  refinement;  and  to  the 
ignorant,  such  as  is  most  familiar  and  common. 

Each  country  has  its  peculiar  style  of  melody,  preferred  by 
the  people  of  that  country  to  all  other  styles.  This  variety 
appears  to  depend  upoii  many  causes;  on  the  climate,  the 
language,  the  disposition  of  the  people,  the  nature  of  the 
scenery  amongst  which  they  live,  and  perhaps  in  some  meas- 
ure, upon  their  government  or  institutions,  which  must  have 
an  influence  upon  their  character  and  disposition. 

Thus  the  music  of  the  Highlands  of  Scotland  is  almost 
uniformly  of  a  wild  and  melancholy  character.  The  sights 
and  sounds  of  nature  in  these  mountain  regions  are  all  of  a 
melancholy  cast.  The  waves  have  a  mournful  sound  as  they 
dash  against  the  rocks;  so  has  the  wind,  when  it  sweeps  over 
the  dark  heath,  or  moans  through  the  lone  valley,  or  howls 
round  the  mountain-tops. 

There  is  nothing  vulgar  in  these  mournful  melodies.  The 
ancient  Highlanders  were  proud,  imaginative,  and  supersti- 
ti6us;  devoted  to  their  chieftains  with  a  lofty  enthusiasm, 
looking  down  with  contempt  on  the  petty  traffic  of  their  Low- 
land neighbors.  Their  business  was  war,  their  occupation 
hunting;  and  at  the  intervals  of  tliese  pursuits,  the  Highland- 
er, wrapt  in  his  plaid,  lonely  and  solitary,  would  indulge  in 
fanciful  reveries  amidst  the  dark  mists,  the  stupendous  pre 
cipices  and  the  rolling  torrents  of  his  dreary  land.    It  is  not 


248 


MUSIC* 


wondei-ful  that  their  music  and  poetry  were  alike  colored  by 
the  scenes  amongst  which  they  lived.  The  gathering  of  the 
clan  was  to  music  at  once  wild  and  martial.  The  Highland 
widow  who  mourned  for  the  death  of  her  fair-haired  boy, 
lamented  his  untimely  fate  in  strains  passionate  and  pathetic — 
and  in  language  which  was  simple  and  lofty. 

The  Lowland  melodies  are  of  a  different  cast.  They  speak 
of  clear  streams  and  peaceful  valleys,— they  express  love  and 
tenderness,  and  tranquil  domestic  affection.  Many  of  thenr 
are  named  from  the  rivulets  and  hills  adjoining  the  Tweedy 
near  Melrose;  such  as  Galavvater,  Ettrick  Banks,  and  the 
Braes  of  Garrow.  Many  have  supposed  that  David  Rizzio  was 
the  composer  of  these  songs;  an  opinion  utterly  devoid  of 
probability.  In  the  time  of  Rizzio,  harmony  was  the  fashion- 
able study  of  the  Italian  composers;  while  melody  is  so  much 
the  characteristic  of  the  Scotch  tunes,  that  it  is  uncertain 
whether  bases  were  set  to  them  before  the  present  century. 

It  is  indeed  probable,  that  Rizzio,  being  a  skilful  musician, 
executed  these  songs  with  a  delicacy  unknown  to  the  native 
musicians;  that  he  perhaps  corrected  the  extravagance  of 
certain  passages,  and  thus  improved  the  beauty  of  these  pas- 
toral melodies. 

Some  consider  James  I.  as  the  father  of  plaintive  melody  in 
Scotland;  and  it  is  certain  that  all  the  Jameses  were  skilled 
both  in  music  and  poetry.  From  the  reign  of  James  I.  to  the 
end  of  the  reign  of  James  V.,  we  may  reckon  the  great  era  of 
Scottish  poetry  and  music.  During  that  period  flourished 
Gavin,  Douglas,  Ballenden,  Dunbar,  Herryson,  Scott,  Mont- 
gomery, and  Sir  David  Lyndsay,  with  many  others,  whose  fine 


MUSIC. 


249 


poems  are  still  extant.  But  the  most  ancient  and  beautiful 
Scotch  melodies  were  probably  the  invention  of  the  Scotch 
shepherds,  who  actually  felt  those  sentiments  and  affections 
whereof  they  are  so  expressive. 

Irish  melody  differs  from  the  Lowland  Scotch  music,  as 
much  as  the  latter  does  from  the  Highland.  It  is  full  of  deep 
feeling  and  pathos.  It  has  more  energy  than  Scottish  music 
— perhaps  more  variety.  There  is  a  vehemence  in  it,  which 
seems  expressive  of  the  character  of  the  people,  with  occa- 
sional bursts  of  sorrow  and  indignation;  while  their  ludicrous 
songs  are  the  very  essence  of  mirth  and  untamed  vivacity. 

The  Alpine  melodies,  and  songs  of  the  Tyrol,  have  the  wild- 
ness  peculiar  to  mountain  music,  yet  are  wholly  unlike  tho 
music  of  the  Scotch  highlands.  They  breathe  a  spirit  of  free- 
dom and  wild  gaiety.  The  music  is  clear,  bold,  and  anima- 
ting. The  Swiss  hunter  has  but  to  descend  from  the  misty 
brow  of  the  mountain,  to  discover  mid-way  his  cheerful  cot- 
tage encircled  by  vines.  He  is  not  condemned,  like  the 
Highlander,  to  perpetual  dreariness.  The  mountain-scenery 
is  awful  and  sublime;  but  the  roseate  tint  upon  the  Alpine 
snows  reminds  him  of  sunshine  and  his  smiling  home. 

The  natives  of  the  southern  countries  in  Europe,  arc  re- 
markable for  their  universal  love  of  music,  and  for  the  excel- 
lence of  their  voices.  In  Spain,  in  Italy,  and  in  the  south  of 
France,  music  appears  to  be  a  kind  of  native  language,  like 
the  untaught  warbling  of  the  birds.  At  Venice,  the  gondo- 
liers sing  in  parts;  and  though  the  music  is  rude,  it  has  a 
pleasing  effect,  when,  softened  by  distance,  it  steals  over  the 
waters  of  the  Brenta.  The  native  melodies  of  Italy  are  grace- 
17 


250 


MUSIC 


fill  and  tender;  and  their  arie  hufe  have  a  lightness  and  gaie- 
ty, and  sometimes  a  grotesque  mirth,  which  only  an  Italian 
can  understand.  The  airs  sung  by  the  peasants  of  Italy  are 
in  general  more  remarkable  for  grace  and  sweetness,  than  for 
deep  feeling.  Those  of  Spain  have,  like  the  Spanish  lan- 
guage, more  energy  and  a  more  romantic  character.  They 
tell  of  a  more  mountainous  country,  of  a  more  high-souled  and 
a  graver  people.  In  Italy  the  theme  is  ever  of  love  or  beauty. 
In  Spain,  there  is  a  greater  mixture  of  devotion  and  romance 
with  gallantry.  The  vocal  music  of  France  is  not  pleasing  to 
any  other  nation,  on  account  of  the  peculiarity  of  their  proso- 
dy. They  always  lay  a  stress  on  the  last  syllable.  The 
French  language  is  the  only  one  which  has  words  terminating 
in  an  e  mute;  and  this  e,  which  is  not  pronounced  in  common 
speech,  has  a  note  assigned  to  it  in  music.  Their  native 
melody  is  in  general  slower  than  might  be  expected  from  the 
vivacity  of  the  inhabitants,  and  upon  the  whole,  with  little  ro- 
mance or  deep  tenderness,  unless  in  some  of  the  old  Proven- 
cal airs,  which  seem  to  have  given  rise  to  many  of  the  melo- 
dies both  of  France  and  Italy.  It  is  certain,  from  whatever 
cause  it  may  arise,  that  the  national  music  of  every  country  is 
as  distinct  as  their  language. 


MUSIC. 


CHAPTER  VII. 

English  music  in  the  IGth  crntury — Italian  music  and  musicians  in  the 
same  century — German  music  and  composers  in  the  lOth  century — Of 
French,  Spanish,  and  Dutch  music  and  composers  of  the  same  period  — 
Music  in  England  in  the  17th  century — Of  masques,  madrigals,  hallads, 
«&c. — The  most  eminent  English  composers — Music  in  Italy  in  the  17th 
century — Most  celebrated  composers  and  violin-players  — Of  Corelli  — 
Music  in  Germany  in  the  17tli  century— Introduction  of  the  Italian  opera 
into  Germany — Of  French  music  in  the  17th  century — Italian  opera 
introduced  into  France — Of  Lulli — English  composers  for  the  chuich 
after  Purcell. 

Before  the  Reformation,  as  there  was  but  one  religion,  there 
was  but  one  kind  of  sacred  music  in  Europe,  plain  chant,  and 
the  descant  built  upon  it.  That  music  was  applied  to  one 
language  only,  the  Latin.  In  the  16th  century,  music  was  in 
England  an  indispensable  part  of  polite  education.  There  is 
a  collection  preserved  in  manuscript  called  Queen  Elizabeth's 
Virginal  Book.  If  her  majesty  was  able  to  execute  any  of  the 
pieces  in  that  book,  she  must  have  been  a  great  performer. 
Tallis,  singularly  profound  in  musical  composition,  and  Biid, 
his  scholar,  were  two  of  the  authors  of  this  famous  colleo 
tion. 

During  the  reign  of  Elizabeth,  the  genius  and  learning  of 
the  British  musicians  were  not  inferior  to  any  on  the  Continent, 
an  observation  scarcely  applicable  at  any  other  period  of  the 
history  of  En^iand.  Sacred  music  was  the  prirripal  object 
of  study  all  over  Europe.  The  lute  and  virginais  were  he 
onlv  instruments  for  which  any  tolerable  music  was  compos- 
ed. The  violin  was  hardly  known  Viols  with  six  strings  and 
fretted  hke  a  guitar,  were  admitted  into  private  concerts,  but 
^  17* 

\ 


MUSIC. 


Queen  Elizabeth  was  in  the  habit  of  being  regaled  during 
dinner  with  twelve  trumpets,  and  two  kettle-drums,  together 
with  fifes,  side-drums  and  cornets,  which  shows  the  state  of 
regal  music  at  that  period. 

The  lute,  which  is  now  scarcely  known,  was  the  favorite 
instrument  of  every  nation  in  Europe  during  the  last  two  cen- 
turies. Choral  compositions,  madrigals  and  songs  in  parts, 
were  the  only  vocal  music  then  known.  Solo  songs,  anthems, 
and  cantatas,  are  the  production?  of  later  limes.  It  is  there- 
fore upon  church  mn^ic,  madrigals  and  songs  in  parts  that 
the  English,  during  the  reign  of  Elizabeth,  must  rest  their 
reputation.  Taste,  rhythm,  accent,  and  grace  must  not  be 
sought  for  in  this  kind  of  music.  What  is  generally  under- 
stood by  taste  in  music,  is  nearly  inadmissible  in  the  gravity 
of  church  composition.  The  figures  and  canons  of  the  16th 
century,  like  the  Gothic  buildings  in  which  they  were  sung, 
have  a  gravity  and  grandeur  peculiarly  suited  to  the  purpose 
of  their  construction.  However  uncouth  they  may  now  ap- 
pear, they  should  be  preserved  as  venerable  relics  of  former 
musical  labors  and  erudition. 

The  16th  century  in  Italy  gave  birth  to  Giovanni  Pierliugi 
da  Palestrina,  the  most  eminent  master  of  the  age  in  which 
ho  lived.  He  was  born  in  1529,  at  Palestrina,  and  having 
when  very  young  distinguished  himself  as  a  composer,  he 
was  admitted  into  the  Pope's  chapel  at  Rome;  and  having 
brought  choral  harmony  to  a  degree  of  perfection  which  has 
nover  since  been  exceeded,  he  died  in  1594,  at  the  age  of 
sixty-five.  We  are  told  that  in  1567,  the  Pope  and  Conclave 
having  been  offended  and  scandalized  at  the  light  manner  in 


MUSIC. 


253 


which  the  mass  had  long  been  set  and  performed,  determined 
to  banish  music  from  the  church.  Palestrina,  then  aged 
twenty-six,  entreated  his  Holiness  to  suspend  the  execution 
of  his  design,  till  he  had  heard  a  mass  of  his  composition. 

His  request  was  granted,  and  on  Easter  Day,  his  famous 
mass  entitled  Missa  Papce  Marcelli  was  performed  in  solemn 
assembly,  before  the  Pope  and  College  of  Cardinals,  who 
found  it  so  grave,  noble  and  elegant,  that  music  was  restored 
to  favor  and  again  admitted  in  the  celebration  of  sacred  rites. 
The  Italians  place  Palestrina  at  the  head  of  the  Roman  school 
in  music. 

Luca  Marenzio,  also  of  that  school,  brought  madrigals  to 
their  highest  degree  of  perfection  towards  the  end  of  the  16th 
century.  He  was  a  native  of  Corcaglia,  in  Brescia.  The 
Italians  surnamed  him  The  Swan;  and  the  greatest  persons  in 
Italy  courted  his  society.    He  died  in  1599. 

At  the  head  of  the  Venetian  school,  the  Italians  place 
Adrian  Willaert,  usually  called  Adriano,  a  native  of  Bruges. 
His  works  and  scholars  were  very  numerous.  His  dexterity 
in  the  construction  of  canons  was  truly  wonderful. 

At  the  head  of  the  Neapolitan  school  was  John  Tinctor, 
and  after  him,  Rocco  Radio,  both  celebrated  and  learned 
musicians.  The  first  secular  music  in  parts  which  has  boon 
known  on  the  Continent,  is  the  harmony  that  was  set  to  the 
rustic  and  street  tunes  of  the  kingdom  of  Naples.  During 
the  16th  century,  these,  under  the  names  of  aricj  villanelfe, 
&c.,  were  as  much  in  fashion  throughout  Europe  as  Venetijin 
ballads  have  since  been.  Besides  the  old  tunes,  which  were 
then  collected,  and  published  in  four  parts,  innumerable  airs 


254 


MUSIC. 


wore  invented  in  imitation  of  these  by  all  the  great  composers 
of  that  time.  They  were  sung  about  the  streets  in  parts,  and 
contain  more  air  and  vivacity  in  the  melody,  than  any  other 
songs  of  the  same  date. 

No  Neapolitan  composer  of  this  period,  has  obtained  such 
high  praise  as  Don  Carlo  Gesualdo,  Prince  of  Venosa. 
Tassoni,  an  Italian  author  of  that  period,  says  that  he  imitated 
the  Scotch  melodies,  but  those  which  remain  of  his  composi- 
tion, have  no  resemblance  whatever  to  Caledonian  music. 
His  contemporaries  appear  to  have  been  dazzled  by  his  rank, 
in  the  encomiums  which  they  bestow  upon  him. 

At  the  head  of  the  Lombard  school  was  Father  Costanza 
Porto,  of  Cremona,  author  of  eighteen  different  works  for  the 
church,  full  of  elaborate  and  curious  compositions.  Gastoldi, 
also  of  the  Lombard  school,  was  the  authe^r  of  various  lively 
ballads,  more  graceful  than  any  melodies  which  were  written 
before  the  cultivation  of  melody  for  the  stage. 

Of  the  Bolognese  school  in  the  16th  century,  among  the 
chief  masters  were  Artusi  and  Andrea  Roti;  and  of  the 
Florentine  school,  Francesco  Corteccia,  author  of  madrigals 
and  church  music;  Alessandro  Striggio,  a  voluminous  com- 
poser; and  Constantius  Testa,  one  of  the  most  graceful  com- 
posers of  that  period. 

Meanwhile,  in  Germany,  besides  numerous  theoretical 
w^riters  and  composers,  the  talents  of  innumerable  practical 
musicians  and  performers  are  highly  celebrated.  The  in- 
habitants of  that  extensive  empire  had  long  made  music  a  part 
of  general  education.  They  were  especially  famous  for  the 
excellence  of  their  organs,  as  well  as  for  their  performers  on 


MUSIC. 


255 


ihat  instrument.  During  the  sixteenth  century,  among  their 
most  eminent  composers  and  theorists  were  Reischius,  Mi- 
chael Roswick,  Henry  Soris,  Faber,  Hoffman,  and  many 
others. 

Before  the  reign  of  Francis  1.  music  appears  to  have  been 
little  cultivated  in  France;  and  even  during  his  reign  it  re- 
ceived little  improvement.  But  so  many  excellent  masters 
of  harmony  existed,  especially  in  the  Low  Countries,  that  mu- 
sic in  parts  had  become  common  all  over  Europe.  The  first 
French  musician  of  eminence,  after  the  death  of  Francis  I. 
was  Cretin,  who  published,  in  1546,  a  work  containing  thirty- 
one  Psalms  of  David,  set  to  music  in  four  parts.  Ronsard,  the 
favorite  bard  of  France  during  the  three  succeeding  reigns, 
had  his  songs  set  to  music  in  four  parts  by  Bertrand,  in  1578, 
under  the  title  of  Les  Amours  de  Ronsard. 

Claude  le  Jenne  was  the  author  of  melanges,  songs,  and 
psalms.  His  melanges  consist  of  French  songs  and  motels, 
the  former  greatly  resembling  the  madrigals  of  Italy.  They 
possess  in  general  much  art  and  skill,  with  little  melody  and 
rhjthm. 

The  lute  was  the  chief  instrument  played  upon  in  France  at 
this  period,  and  the  violin  was  introduced  by  Baltazarini, 
sent  from  Piedmont  at  the  head  of  a  band  of  violin  players,  by 
Marshal  Brissac,  to  Queen  Catharine  de  Medicis.  Baltaza- 
rini having  delighted  the  court  by  his  ballets,  divertissemens, 
and  other  dramatic  representations,  received  in  consequence 
the  surname  of  Bcaui-joijcux. 

Indeed,  the  great  number  of  Italian  musicians  who  followed 
in  the  train  of  Catharine  de  Medicis,  induced  the  musicians  of 


Q56 


MUSIC. 


France  to  change  their  own  rude  and  simple  method,  and  to 
adopt  the  grace  and  delicacy  of  the  Italians,  both  in  vocal 
and  instrumental  music.  From  the  ballets  introduced  by 
Beaux-joyeux,  we  may  trace  the  origin  of  the  ballet  heroique, 
and  the  ballet  historique,  in  France,  where  the  first  place  ia 
given  to  dancing,  and  the  second  to  poetry  and  music. 

Music  in  Spain  was  early  admitted  into  the  circle  of  the 
sciences  at  their  universities.  Before  the  time  of  Salinas,  who 
lived  at  the  close  of  the  sixteenth  century,  though  the  theory 
of  music  had  been  attended  to,  yet  it  had  been  little  cultivated 
as  an  art.  Francis  Salinas  was  a  native  of  Burgos,  and  was 
born  blind.  He  was  taught  very  early  to  sing,  and  to  play 
upon  the  organ,  in  the  performance  of  which  he  excelled.  His 
treatise  upon  music  has  been  greatly  celebrated.  He  died  in 
1590,  aged  77. 

The  works  of  Don  Cristofero  Morales  were  celebrated  all 
over  Europe  about  the  same  period.  He  wrote  chiefly  for 
the  church,  and  his  compositions  were  in  high  favor  at  Rome, 
till  those  of  PaJestrina  supplanted  them.  Other  eminent 
Spanish  composers  of  the  sixteenth  century  were  Guerrero  of 
Seville,  Flecha  of  Catalonia,  and  Ortiz  of  Madrid. 

In  Flanders  and  the  Netherlands,  many  able  composers  had 
succeeded  Jusquin.  Among  these,  Cyprian  Rore,  and  Or- 
lando Lasso  may  be  particularly  mentioned.  They  travelled 
through  the  different  courts  of  Europe,  and  were  great  mas- 
ters of  harmony.  They  composed  masses  and  psalms  for  the 
church,  as  well  as  songs  adapted  to  various  languages.  Their 
compositions  are  lighter  than  those  of  Palestrina,  and  when 
they  strive  to  be  grave  and  solemn,  they  frequently  become 


MUSIC. 


257 


heavy  and  dull.  Their  songs  have  much  modulation,  but  lit- 
tle melody. 

In  the  seventeenth  century,  masques,  the  precursors  of  ope- 
ras, came  into  great  vogue  in  England.  They  resemble  ope- 
ras, since  they  are  in  dialogue;  are  performed  on  the  stage; 
are  ornamented  with  machinery,  dances  and  decorations;  and 
have  always  music,  vocal  and  instrumental.  They  differ  from 
them  in  having  no  recitative,  which  is  the  essential  character- 
istic of  an  opera. 

About  the  beginning  of  the  same  century,  madrigals  began 
to  go  out  of  vogue,  and  were  supplanted  by  fantasias,  or  fan- 
cies, of  three  or  more  parts,  wholly  composed  for  viols  and 
other  instruments,  without  the  assistance  of  the  voice.  About 
the  end  of  the  reign  of  James  I.  a  music  lecture,  or  professor- 
ship, was  founded  in  the  University  of  Oxford,  by  Dr.  William 
Heyther. 

Charles  I.  loved  music  and  patronized  musicians.  He  wag 
also  himself  a  good  performer  on  the  viol-da-gamba.  In  1637, 
Milton  wrote  the  Mask  of  Comus,  which  was  set  to  music  by 
Henry  Lawes,  a  celebrated  musician,  who  performed  the  part 
of  Thyrsis  in  it.  The  other  characters  were  sustained  by  the 
sons  and  daughters  of  Lord  Brackley,  to  whom  it  was  dedi- 
cated. Indeed,  these  musical  dramas  were  usually  performecl 
by  the  king,  queen,  and  nobility,  especially  the  splendid  bal- 
lets, where  they  represented  heathen  divinities  or  allegorical 
characters. 

Among  the  best  musicians  of  England  at  this  period  wero 
Nathaniel  Giles,  Orlando  Gibbons,  Dr.  William  Child,  and 
Pelham  Humphry.    Attempts  were  now  made  in  England  for 


258 


MUSIC. 


simplifying  harmony,  and  purifying  melody;  but  for  some 
time  with  little  success.  The  harmony  was  given  up,  and  the 
melody,  that  filled  its  place  had  the  merit  of  simplicity,  but 
was  totally  devoid  of  accent,  grace,  or  invention. 

The  praises  that  are  bestowed  by  contemporaries  upon  some 
of  the  music  and  musicians  of  this  period  only  show  that  the 
worst  music  is  more  admired  during  times  of  ignorance  than 
the  most  exquisite  productions  at  a  more  enlightened  time. 

From  the  death  of  Charles  I.  till  the  Restoration,  notwith- 
standing the  gloomy  spirit  of  the  age,  music  was  zealously 
cultivated  in  private.  John  Jenkins  was  a  voluminous  com- 
poser fancies  for  viols,  and  was  the  first  Englishman  who 
professedly  imitated  the  Italian  style.  The  restoration  of 
Charles  II.  drew  from  their  retreats  all  the  surviving  musi- 
cians who  had  been  involved  in  the  calamities  occasioned  by 
the  civil  war. 

The  ballads  of  Dr.  Blow,  which  were  much  in  vogue  at  this 
time,  contained  more  melody  than  those  of  any  preceding 
composers;  yet  they  were  not  of  that  graceful  kind  which  the 
Italians  were  now  rapidly  carrying  to  perfection.  It  is  in 
these  ballads,  that  the  union  of  Scotch  melody  with  the 
English  is  first  conspicuous. 

King  Charles  had  a  taste  for  all  things  that  were  French, 
and  in  order  to  please  him,  all  the  composers  in  London 
etrove  hard  to  imitate  Lulli,  a  Frenchified  Italian,  master  of 
the  court  music  in  Paris,  who  was  then  considered  the  great- 
est musician  of  his  time. 

The  eminent  English  musician,  Henry  Purcell,  was  born 
in  1653.    His  genius  embraced,  with  equal  facility,  every 


MUSIC. 


25d 


species  of  composition  then  known.  In  writing  for  the 
church,  he  manifested  extraordinary  talent,  whether  he  ad- 
hered to  the  elaborate  style,  of  his  predecessors,  or  adopted  a 
new  and  more  expressive  style  of  which  he  was  himself  one  of 
the  principal  inventors.  In  compositions  for  the  theatre,  he 
gave  more  melody  and  interest  to  the  voice  than  had  ever 
been  heard  in  England  before.  And  in  private  music,  such 
as  sonatas  for  instruments,  songs,  ballads,  or  catches  for  the 
voice,  he  so  far  surpassed  whatever  England  had  before  pro- 
duced or  imported,  that  all  other  musical  productions  were 
instantly  consigned  to  oblivion. 

Among  these  graceful  melodies  the  Mad  Bess  of  Purcell  is 
so  celebrated  as  to  need  no  panegyric,  its  favor  having  been 
revived  by  almost  all  the  best  English  singers.  His  songs 
are  preserved  in  a  collection  entitled  the  Orpheus  Britanni- 
cus.  Here  are  collected  the  songs,  from  which  the  natives 
of  Britain  first  received  a  delightful  impression  by  the  music 
of  a  single  voice. 

A  revolution  in  favor  of  melody  and  expression  was  now 
preparing  in  Italy,  even  in  sacred  music.  Dramatic  compo- 
sition, consisting  of  melodies  and  recitation  for  a  single  voice, 
now  began  to  be  preferred  to  music  of  many  parts.  Ludovico 
Viadana,  an  eminent  church  composer  of  this  period,  has  the 
reputation  of  having  invented  the  indication  of  chords  by 
figures,  in  what  the  Italians  call  basso  continuo,  and  the 
English,  thorough  bass. 

Allegri  was  the  author  of  the  famous  Miserere  still  sung  ia 
the  Papal  chapel  during  Passion  week.  Though  it  undoubt- 
edly owes  much  of  its  eflfect  to  the  surrounding  scene,  to 


360 


MUSIC. 


the  solemn  assembly  of  the  Pope  and  Cardinals,  the  extin- 
guished torches,  and  the  mystery  of  the  concealed  voices,  yet  it 
must  ever  be  considered  as  one  of  the  most  sublime  efforts  of 
human  genius. 

At  the  same  period,  the  two  Mazzochi  contributed  to  the 
perfection  of  church  music,  by  extending  the  bounds  of  har- 
mony. Many  famous  organists  flourished  in  Italy  in  this  cen- 
tury. Near  the  latter  end  of  it,  a  learned  and  elaborate 
species  of  Chamber  Duet  for  voices  began  to  be  in  favor. 
The  first  composer  of  these  was  Bonoricini,  then  the  Abate 
Stefl^ani,  born  in  1674,  an  admirable  musician.  These  were 
followed  by  the  duets  of  Clari,  Handel,  Marcello,  Gasparini, 
Loth,  Hasse,  and  Durante. 

Arcangelo  Corelli  was  born  in  February,  1653,  at  Tusigna- 
no,  in  Bologna.  He  visited  Paris,  in  1672,  but  was  driven 
thence  by  the  jealousy  of  Lulli.  Soon  after,  he  led  the  band 
ef  the  opera  at  Rome,  as  .principal  violin,  and  published  his 
Twelve  Sonatas  and  his  Balletti  da  Camera.  His  chief  fame 
was  acquired  by  his  solos  for  the  violin,  and  his  works  have 
contributed  more  to  charm  the  lovers  of  music  by  the  mere 
powers  of  the  bow,  without  the  human  voice,  than  those  of  any 
composer  that  has  yet  existed. 

Being  invited  to  Naples  to  perform  before  the  King,  his 
timidity  prevented  him  from  fully  displaying  his  powers.  The 
King  left  the  room  in  the  middle  of  an  adagio.  The  famous 
Scarlatti  executed  a  passage  in  which  he  failed.  A  hautboigi 
player  was  admired  more  than  him,  and  Corelli  returned 
mortified  to  Rome. 

The  Concertos  of  Corelli  have  withstood  the  attacks  of 


MUSIC. 


261 


time  and  fashion.  The  harmony  is  rich  and  pure,  the  parts  are 
judiciously  disposed,  and  considering  that  many  of  them  are 
upwards  of  a  hundred  years  old,  their  grace  and  elegance  are 
wonderful.  After  the  publication  of  his  works,  the  violin 
increased  in  favor  all  over  Europe.  Among  a  multitude  of 
celebrated  names  we  may  mention  Gemunani,  Tartini,  Pas- 
qualino  Bini,  and  Veracini,  who  played  so  beautiful  a  solo  in 
the  cathedral  at  Lucca,  that  the  audience  transported,  called 
out,  Evviva! 

Numerous  German  musicians  also  distinguished  themselves 
during  the  17th  century.  The  reign  of  harmony  and  figure 
Continued  longer  there  than  in  Italy.  Among  the  most  cele- 
brated organists  and  composers,  were  John  Klemme,  Jacob 
Froberger,  Andreas  Hammerschmidt,  surnamed  the  Glory  of 
Germany,  (perhaps  because  Mozart  was  not  then  born) 
Schein,  Scheit,  and  Buttstett. 

In  1627,  the  celebrated  Martin  Opitz  translated  the  opera 
of  Daphne  from  the  Italian.  Schiitz,  the  chapel-master,  set  it 
to  music,  and  it  was  performed  at  the  court  of  Dresden  on 
the  occasion  of  the  marriage  of  the  Elector's  sister  with 
George  II.  In  1665  the  opera  of  Alcindo  and  Clorinda  was 
performed  at  Vienna.  In  1678,  Theiles's  Adam  and  Eve 
was  performed  in  the  German  language  at  Hamburgh.  In 
1694,  Keiser,  Brenner  and  Krieger  began  to  compose  for  the 
German  theatre.  At  the  beginning  of  the  18th  century  the 
performers  in  the  German  operas  were  all  tradesmen,  car- 
penters, or  shoemakers;  and  the  Armida  and  Semiramis  of 
the  evening  sold  fruit  and  sweetmeats  the  next  day.  Thi» 
however  was  only  in  the  infancy  of  the  musical  drama. 


262 


MUSIC 


By  a  more  frequent  intercourse  with  Italy,  and  the  estab- 
lishment of  Italian  operas  in  all  the  German  courts,  music  in 
Germany,  particularly  instrumental,  was  soon  brought  to  a  de- 
gree of  perfection  beyond  that  of  any  other  country,  Italy 
hardly  excepted. 

Though  the  French  have  long  wished  to  have  a  dramatic 
music  of  their  own,  yet  they  certainly  owe  the  introduction  of 
the  opera  to  the  Italians.  Orfeo  and  Euridice  was  perform* 
ed  in  Paris  in  1647.  Music  was  little  cultivated  in  France, 
till  the  operas  of  Lulli,  under  the  powerful  patronage  of  Louis 
XIV.  excited  public  attention.  He  was  born  near  Florence  in 
1633,  was  the  son  of  a  peasant,  and  was  taught  by  a  Cordelier 
to  play  on  the  guitar.  The  Chevalier  de  Guise  brought  him 
to  France,  and  he  was  made  under  scullion  in  the  kitchen  of 
Mademoiselle  de  Guise,  where  he  annoyed  his  fellow-servants 
by  constantly  scraping  on  a  miserable  violin.  However  his 
merits  were  discovered,  and  by  degrees  he  obtained  public 
favor,  received  letters  of  nobility  from  the  King,  and  became 
celebrated  all  over  Europe. 

The  celebrated  singer.  La  Rochois,  was  one  of  his  pupils. 
La  Niacpin,  another  celebrated  singer,  was  also  famous  for 
her  romantic  adventures;  for  having  fought  various  duels, 
killed  three  of  her  adversaries,  and  ended  her  life  in  devotion 
in  1707,  aged  thirty-four. 

The  airs  in  the  operas  of  Lulli,  are  short  simple  tunes, 
more  in  the  style  of  Venetian  ballads  than  of  opera  songs,  but- 
the  recitative  is  grave,  noble,  and  simple. 

In  England,  after  Purcell,  the  chief  composers  for  the 
church  were  Glarke,  Dr.  Holden,  Dr.  Creyghton,  Tucker,  Ald«^ 


MUSIC. 


363 


rich,  &c.,  and  John  Stanley,  who  though  bhnd,  attained  to 
great  proficiency  in  music. 


CHAPTER  VIII. 

Of  mysteries  and  Oratorios,  in  Italy — Opera — Buffe — Cantatas — Chief  com- 
posers in  these  different  styles — Musical  dramas  in  En  aland — Arrival 
of  Italian  singers  there — Handel  arrives  in  England — Mrs.  Anastasia 
Robinson — Cuzzoni — Bordoni — Oratorios  in  England — The  opera  goes 
out  of  fashion — is  revived — Celebrated  Opera-Singers — Dancing  pre- 
ferred to  music — Madame  Mara—  Dr.  Arne — The  ItaHan  opera  in  London 
at  the  present  time — Catch-Club,  and  Concert  of  Ancient  Music — Musio 
In  Franco  after  Lulli — Rameau — Attempt  at  introducing  Italian  music 
in  Paris  fails — Party-spirit  between  the  followers  of  Gluck  and  Piccini — • 
Of  French  music  at  present — Music  in  Germany — Of  Mozart — His  life 
and  works — His  death  and  requiem — Other  eminent  composers  iiK 
Germany. 

The  first  truly  dramatic  exhibitions  in  Italy  were  their  spirit- 
ual comedies,  or  religious  mysteries;  representing  diflTerent  pas- 
sages of  Scripture,  such  as  the  Conversion  of  St.  Paul;  the 
Death  of  Isaac;  and  others.  By  degrees  these  were  admitted 
into  church,  and  improved  into  oratorios.  Stradella,  a  cele- 
brated musician  of  Naples,  was  one  of  the  best  composers  of 
these  oratorios.  Since  then,  they  have  been  enriched  by 
the  chorusses  of  Colonna,  Alessandro  Scarlatti,  Leo,  and 
above  all,  Handel.  In  1706,  Arcangelo  Spagna,  published 
fifteen  oratorios,  in  which  our  Saviour,  and  sometimes  the 
Supreme  Toeing  himself,  were  profanely  introduced  among  the 
dramatis  person®. 

Carlo  Pallavicini  was  the  author  of  Demetrio,  composed  for 


864 


MUSIC. 


the  Venetian  opera.  Caldara  also  was  a  celebrated  dramatic 
composer.  The  opera  BufTa  was  introduced  into  Italy  in  the 
I6th  century.  But  the  burletta  music  of  Italy  was  little 
known,  until  the  comic  operas  of  Ciampi,  and  Galuppi,  were 
performed  on  the  English  stage. 

Cantatas^  which  were  early  known  in  Italy,  first  consisted, 
like  opera  scenes,  of  little  more  than  recitative.  Then  a 
eingle  air  was  introduced,  distinct  from  the  recitative,  and  re*- 
peated  to  different  stanzas  after  the  narrative  part  of  the 
poem,  like  modern  ballad  airs.  Towards  the  end  of  the  16th 
century,  they  were  brought  to  great  perfection,  especially  by 
Alessandro  Scarlatti.  We  are  told  that  Tranceschelli,  a  cel- 
ebrated violincello-player,  accompanied  one  of  these  cantatas 
at  Rome  so  admirably,  while  Scarlatti  played  on  the  harpsi- 
jchord,  that  the  company  who  were  good  Catholics,  and  not 
incredulous  of  miracles,  were  firmly  persuaded,  that  it  was 
not  Tranceschelli  who  had  performed  on  the  violincello,  but  an 
angel  who  had  assumed  his  shape. 

After  Scarlatti,  Gasparini,  Bouoncini,  Caldara  and  Pergo- 
lesi  were  among  the  most  celebrated  composers  in  this  style. 
The  first  musical  drama  that  was  performed  in  England, 
wholly  after  the  Italian  manner,  was  Arsinoe,  Queen  of  Cy- 
prus, translated  from  the  Italian  of  Stanzani  of  Bologna,  and 
performed  in  1705.  The  singers  were  all  English.  In  1707, 
Addison  wrote  his  opera  of  Rosamond,  which  was  set  to  music 
by  Clayton,  a  contemptible  composer,  and  was  thrown  aside 
after  three  representations. 

Then  opera-singers  began  to  arrive  from  Italy,  and  the 
famous  Niccolini  Grimaldi  appeared  in  London  in  the  opera 


MUSIC. 


365 


t>f  Pyrrhus  and  Demetrius.  He  was  a  Neapolitan.  His 
voice  was  at  first  a  soprano,  but  descended  afterwards  to  a 
fine  contr'alto.  In  1710  the  opera  of  Almahide  was  brought 
out  in  London,  the  first  opera  performed  in  England  wholly  in 
Italian,  and  by  Italian  singers.  The  Italian  opera  was  thus 
first  heard  to  advantage  there,  since  the  vocal  music  of  Italy 
can  only  be  heard  in  perfection,  when  sung  to  its  own  lan- 
guage and  by  its  own  natives. 

The  year  1710  is  distinguished  in  the  annals  of  music  by 
the  arrival  in  Britain  of  George  Frederic  Handel,  who  had 
been  in  the  service  of  the  Elector  of  Hanover,  and  came  to 
England  on  a  visit  of  curiosity.  Aaron  Hill,  the  director  of 
the  Haymarket,  instantly  applied  to  him  to  compose  an  opera, 
which  he  did.  It  was  Rinaldo;  the  admirable  music  of 
which  was  written  in  a  fortnight. 

Soon  after,  the  celebrated  Mrs.  Anastasia  Robinson  accept- 
ed of  an  engagement  at  the  opera.  This  great  vocalist,  was 
the  daughter  of  a  portrait-painter,  and  was  afterwards  married 
to  the  Earl  of  Peterborough,  In  1720,  the  principal  persons 
in  England,  having  subscribed  50,000  pounds  for  supporting 
the  opera,  George  I.,  formed  the  subscribers  into  a  society, 
which  was  named  the  Royal  Academy  of  Music.  Handel  was 
commissioned  to  engage  the  performers;  and  for  that  purpose 
went  to  Dresden,  where  Italian  operas  were  performed  in  the 
most  splendid  manner  at  the  court  of  Augustus,  Elector  of  Sax- 
ony. Here  Handel  engaged  Senesino,  Berenstadt,  Boschi, 
end  Duranstanli. 

In  172:J,  the  celebrated  Francesca  Cuzzoni  arrived  in  Eng- 
land, and  soon  after,  her  distinguished  rival  Signora  Faustina 
18 


266 


MUSIC. 


Bordoni.  Two  violent  parlies  were  formed  in  London,  respect- 
ing the  merits  of  these  splendid  singers;  no  dispute  whether 
theological  or  political,  ever  occasioned  a  more  inveterate  party- 
spirit.  In  seven  years,  the  whole  oO,000  pounds  was  exhaust- 
ed, and  at  the  close  of  the  season  the  singers  dispersed.  At 
the  end  of  the  year,  however,  Handel  recommenced  the  opera 
at  his  own  risk,  and  engaged  a  new  band  of  Italian  performers. 
In  1732,  Handel  introduced  oratorios  into  England,  and  ex- 
hibited his  Esther,  and  his  Acis  and  Galatea.  Some  years 
after,  his  statue  was  erected  in  Vauxhall. 

Handel's  operas  of  Parthenope  and  Alessandro,  which  may 
rank  among  the  best  of  his  dramatic  compositions,  were  per- 
formed by  first-rat<;  singers  from  Italy.  No  vocal  performer  of 
the  eighteenth  century  was  so  unanimously  allowed  to  pohsess 
power,  sweetness,  and  extent  of  voice,  as  Farinelli.  Now, 
his  powers  would  excite  no  astonishment. 

About  this  time,  however,  the  rage  for  operas  diminished. 
Curiosity  began  to  be  satiated,  and  faction,  opposition,  and  en- 
mity to  Handel,  occasioned  them  to  be  entirely  given  up,  for 
some  time.  That  great  composer  was  also  disabled  at  this 
'  period  of  his  life,  by  the  double  infliction  of  palsy  and  insanity. 
He  had  written  thirty-nine  Italian  dramas  for  the  English 
stage,  exclusive  of  the  opeias  which  he  had  set  in  Germany 
and  Italy. 

In  1739,  he  re-appeared  in  public,  and  carried  on  oratorios 
at  the  Haymarket.  The  Earl  of  Middlesex  engaged  the  King's 
Theatre,  with  a  new  band  of  singers  from  the  continent,  and 
the  Italian  opera  was  revived  in  London.  Among  the  finest 
singers,  whose  arrival  in  England  formed  memorable  eras  in 


MUSIC. 


267 


music,  uxre  Giardini,  Manzoli,  the  finest  soprano  after  Fori- 
nclli,  Tenducci,  and  more  especially  Cactano  Guadagni.  He 
performed  in  the  Messiah  and  Samson  of  Handel. 

In  1773,  Miss  Cecilia  Davics  made  her  appearance  in  tho 
opera  of  Lucca  Vero.  She  was  the  first  English  singer  who 
was  considered  worthy  to  perform  on  an  Italian  stage.  Then 
the  famous  Gabrielli,  daughter  of  a  cardinal's  cook  at  Ronr:e, 
arrived  in  London.  She  was  equally  famous  for  her  exquisite 
voice,  and  unbounded  caprice,  Lucrezia  Agrigari  was  soon 
after  engaged  for  the  Pantheon,  at  the  salary  of  £\00  per  night, 
for  singing  two  songs  only.  Anna  Pazzi,  Signora  Georgia, 
and  Pacchierotti,  were  all  celebrated  in  their  turn  for  their 
performance  on  the  London  boards. 

In  J  781,  dancing  gained  the  ascendant  over  music  in  the 
opera-house,  and  those  who  spoke  loudest  when  Pacchierotti 
sung,  sat  in  breathless  and  wondering  silence  when  Vestris 
performed  his  airy  evolutions.  The  year  1734  was  rendered 
memorable  in  the  nnnals  of  music  by  the  magnificent  manner 
in  which  the  birth,  genius,  and  abilities  of  Handel,  were 
celebrated  in  Westminster  Abbey  and  the  Pantheon,  by  five 
performances  of  pieces  selected  from  his  own  works,  and  exe- 
cuted by  a  Lj::d  of  more  than  five  hundred  voices  and  instru- 
ments, in  i\i  [presence  of  their  majesties  and  the  first  persons 
in  the  kingcK  iii. 

In  the  same  year,  Madame  Mara,  whose  voice  many  still 
alive  remember  with  rapture,  first  arrived  in  England. 

Till  the  Italian  opera  was  established  in  England,  little  was 
expected  from  the  sinnrers,  but  a  voice  and  ear;  and  even  iho 
exquisite  performers  of  Italy  excited  more  astonishment  than 
18* 


263 


MUSIC. 


emulation,  among  the  English.  D'Arme  first  began  a  change 
in  English  vocal  music,  by  refining  the  melody,  more  from 
Italian  than  English  models.  His  compositions,  if  analyzed, 
would  be  found  to  contain  an  imitation  of  Italian,  English  and 
Scots  melody.  Various  celebrated  violin-players,  from  the 
Continent,  have  also  contributed  to  improve  the  English  taste, 
and  there  are  now  many  native  singers,  both  male  and  female, 
who  may  vie  with  their  Italian  rivals.  The  Italian  opera  in 
London,  however,  continues  to  be  supported  by  all  persons  of 
rank  and  fashion  in  that  country.  Italian  music  and  Italian 
singers  usurp  th^  public  favor  almost  entirely,  nor,  considering 
this  patronage  of  foreigners  only  as  a  matter  of  taste,  can  it  be 
objected  to. 

There  are  various  eminent  instrumental  performers  now  in 
England^  both  native  and  foreign.  In  1162,  the  Duke  of 
Queensbury  and  some  others  instituted  the  Catch  Club  at  the 
Thatched-house  in  London,  both  for  performing  the  canons, 
catches,  and  glees  of  old  masters,  and  for  the  production  of 
new  compositions,  of  the  same  kind.  In  1776,  the  Earl  of 
Sandwich  instituted  the  concert  of  ancient  music,  for  the  per- 
formance of  such  solid  and  valuable  productions  of  the  ancient 
masters,  as  had  been  discarded  for  an  intemperate  rage  for 
novelty.  Upon  the  whole,  the  state  of  practical  music  in  Eng- 
land is  in  an  extremely  flourishing  condition. 
*  In  France,  the  greatest  composer  after  Lulli,  was  Rameau, 
born  at  Dijon,  in  1683.  Party  rage  was  violent  in  Paris  be- 
tween their  respective  admirers.  The  style  of  Rameau,  though 
formed  upon  that  of  Lulli,  is  more  rich  in  harmony,  and  varied 
ifx  melody.    Rameau's  system  of  a  Fundamental  Base,  and 


MUSIC. 


269 


his  opera  of  Castor  and  Pollux,  carried  his  celebrity  to  the 
greatest  height  in  France.  In  1752,  a  troop  of  Italian  burlet- 
ta  singers  exhibited  at  the  opera  in  Paris. 

But  after  many  attempts  at  Italian  music,  the  patriotic  ears 
in  France  returned  with  pleasure  to  the  ancient  national 
strains;  the  operas  of  Lulli  and  Rameau  were  revived,  and 
the  Italian  singers  driven  from  France.  Then  the  Chevalier 
Gluck,  the  pride  of  Vienna,  produced  his  opeitis  in  Paris,  and 
the  universal  cry  there,  was,  that  he  had  restored  the  dramatic 
music  of  the  ancient  Greeks.  When  he  was  at  the  height  of 
his  fame,  the  celebrated  Piccini  arrived  from  Naples.  Then 
a  furious  war  broke  out  between  the  followers  of  Gluck  and 
Piccini.  No  door  was  opened  to  a  visitor,  without  the  ques- 
tion being  asked;  'Monsieur  tes-evous  Gluckiste  or  Picci- 
niste }  ' 

The  French  theorists  arc  too  apt  1o  reduce  music  to  a  mere 
mechanical  art;  and  are  in  genera!  too  well  satislied  with  mu- 
sic of  their  own  country,  to  see  the  necessity  for  a  reforma- 
tion in  the  vocal  department.  There  are  many  instrumental 
performers  in  France,  who  are  very  celebrated.  Auhcr  en- 
joys at  present  the  plenitude  of  popular  favor  as  a  composer* 
M.  De  la  Borde,  a  famous  musical  theorist,  says  that  the  Ital- 
ians are  superior  to  the  French  in  melody,  bul  that  the  Frencll 
surpass  them  in  harmony. 

Without  disputing  this  last  opinion,  which  most  good  judges 
of  music  must  consider  erroneous,  it  is  suflicient  to  observe 
that  neither  melody  nor  harmony  alone  can  constitute  good 
music,  which  consists  in  the  union  of  both. 

In  no  country  has  music  made  more  rapid  progress,  or  exci- 


270 


MUSIC. 


ted  more  attention,  than  in  Germany.  All  the  princes  of  that 
empire,  have  encouraged  musical  professions  at  their  respect- 
ive courts.  The  emperors  appear  to  have  heen  all  partial  to 
Italian  language  and  music.  In  1724,  a  splendid  opera  was 
exhibited  at  Vienna,  on  the  birth  of  an  arch-duchess.  The 
performers  were  all  persons  of  high  rank.  Two  arch-duch- 
esses were  amongst  the  dancers,  and  the  Emperor  himself  was 
the  principal  director,  and  accompanied  the  voices  on  the  harp- 
sichord. 

Mozart,  the  prince  of  German  musicians,  was  born  at  SlliIz- 
burg,  in  1756.  From  his  earliest  years,  he  evinced  the  strong- 
est proofs  of  that  wonderful  genius  which  has  obtained  for  him, 
among  musicians,  the  rank  which  Raphael  holds  among  paint- 
ers. Music  seemed  to  fill  his  soul.  He  loved  it  with  an  en- 
thusiasm which  made  all  childish  amusements  appear  ins*;  id 
to  him.  In  his  fifth  year,  he  wrote  a  concerto  for  the  harpsi- 
chord, which  could  only  be  played  by  the  most  practised  per- 
former. 

Soon  after,  he  was  taken  by  his  father  to  the  court  of  the 
Emperor  of  Austria,  where  his  juvenile  proficiency  excited  the 
utmost  astonishment.  He  had  the  greatest  aversion  to  discord 
and  shrill  tones.  On  first  hearing  the  sound  of  a  trumpet,  he 
fell  senseless  to  the  ground.  This  delicate  sensibility  is  ap- 
parent in  all  his  works.  Music  appears  to  have  absorbed  all 
his  faculties,  and  to  have  rendered  him  incapable  of  attending 
to  the  common  pursuits  of  life.  He  attained  the  highest  de- 
gree of  perfection  in  the  art,  and  is  unequalled  in  the  richness, 
purity,  and  depth  of  his  ideas. 

His  instrumental  compositions,  his  sonatas,  concertos,  sym- 


MUSIC. 


271 


phonies,  and  quartetts,  will  remain  a  model  for  all  succeeding 
ages.  His  operas  are  unrivalled  for  taste  and  depth  of  feel- 
ing. Among  these,  his  Don  Giovanni,  his  Cosi  fan  Tuth,  his 
Zauberflote,  and  his  Clemenzadi  Tito,  may  perhaps  be  select- 
ed from  a  crowd  of  splendid  pertbrmances.  In  sacred  music, 
he  was  equally  successful.  His  famous  requiem  was  the  last 
piece  which  he  ever  wrote.  It  is  said,  that  a  stranger  called 
one  day  upon  Mozart,  and  requested  him  to  compose  a  mass 
for  the  death  of  a  friend  of  his,  desiring  him  to  fix  his  own 
price,  which  the  visitor  paid  in  advauce;  promising  to  call 
again  in  a  few  months,  and  to  give  an  additional  sum  when  the 
work  was  concluded. 

Mozart  commenced  the  mass  with  the  utmost  energy  and 
interest,  hut  being  interrupted  by  other  commissions,  it  was 
not  finished  when  the  stranger  made  his  re-appearance,  at  the 
specified  time.  Mozart  apologized  for  the  delay,  and  again 
continued  the  composition  with  such  unusual  ardor,  that  his 
wife,  afraid  lest  such  exertion  should  injure  his  health,  en- 
treated him  to  suspend  his  labors.  He  replied  that  he  was 
writing  a  requiem  for  himself  His  words  were  true,  for  be- 
fore it  was  concluded,  his  health  daily  declined;  he  died,  De- 
cember 5th,  1792,  in  the  36th  year  of  bis  age,  and  this  solemn 
and  beautiful  requiem  was  performed  at  his  I'uneral. 

In  1766,  the  musicians  at  Vienna,  since  celebrated  all  over 
Europe,  were  Christopher  Vagenseil,  Leopold  Hoffmann, 
Charles  Ditters,  and  Joseph  Haydn.  The  celebrated  Haydn 
was  born  at  Rhorau,  on  the  holders  of  Hun;j^ary  and  Austria. 
His  music  is  varied  and  beautiful.  His  adagios  arc  pathetic 
in  the  highest  degree,  while  his  allegros  are  exhilarating 
from  their  liveliness. 


272 


MUSIC. 


Kozeluch,  of  Vienna,  is  remarkable  for  the  solidity,  good 
taste  and  harmony  of  his  compositions;  and  the  science,  har- 
mony, and  depth  of  Beethoven's  works,  must  long  render  his 
name  celebrated.  But  the  excellent  composers  of  Germany 
are  innumerable.  Their  scientific  and  beautiful  compositions 
are  spread  all  over  Europe. 


CHAPTER  IX. 

Music  in  Italy  in  the  18th  century — In  Venice — Musical  dramas  at  Naples 
— Pergolesi,  Jomelli,  Cimarosa,  Paesiello — State  of  music  in  Italy  in  the 
19th  century — Of  Rossini  and  Weber — Their  chief  works — Celebrated 
female  singers — Of  Signora  Pasta — Of  Paganini. 

It  is  certainly  from  Italy  that  all  the  grace  and  elegance  of 
modern  music  are  derived.  At  the  beginning  of  the  seventeenth 
century,  Venice  was  distinguished  for  her  numerous  dramatic 
composers.  In  1702,  the  elegant  and  graceful  Gasparini  com- 
posed Tiberio,  his  first  opera,  for  that  city.  Caldara  was  one 
of  the  greatest  professors  both  for  the  church  and  stage  that 
Italy  can  boast.  In  1727,  the  chief  composers  at  Venice 
were  Parta,  Porposa,  Albinoni,  Viyaldi,  and  Buini.  Many 
others  succeeded  them,  and  among  these  may  be  particularly 
mentioned  the  names  of  Pescetti,  Alberti,  and  Marcello. 

Few  instances  occur  of  musical  dramas  at  Naples  till  the 
beginning  of  the  18th  century.  Before  the  time  of  the  elder 
Scarlatti,  Naples  seems  to  have  been  less  diligent  in  the  culti- 
vation of  dramatic  music  than  any  other  state  in  Italy.  Since 


MUSIC. 


273 


that  time  all  the  rest  of  Europe  has  been  furnished  with  com- 

posers  and  performers  from  that  city. 

The  famous  Pergolesi  was  born  at  a  small  village  near 
Naples,  in  1704.  His  merit  was  never  sufficiently  appreciat- 
ed during  his  life-time.  He  died  in  the  prime  of  life,  and  his 
death  was  attributed  by  many  to  poison.  No  sooner  was  he 
dead,  than  all  Italy  became  loud  in  his  praise,  and  his  opera 
of  Olimpiade,  which  two  years  before  had  been  heard  with 
indifference,  was  now  listened  to  with  rapture. 

The  ease  and  simplicity  of  his  style  formed  an  era  in  modern 
music.  It  was  chiefly  in  vocal  compositions  that  he  excelled, 
and  his  clearness,  simplicity  and  sweetness  of  expression  just- 
ly entitle  him  to  supremacy  over  all  his  predecessors  and  con- 
temporary rivals. 

Nicolo  Jomelli  was  born  at  Avellino,  near  Naples,  in  1714. 
He  wrote  many  excellent  operas,  was  a  great  harmonist,  and 
naturally  grave  and  majestic  in  his  style.  His  abilities  in 
writing  for  the  church  were  even  superior  to  those  which  he 
manifested  for  the  stage.  Having  gone  into  the  service  of 
the  Duke  of  Wurtemburg,  and  finding  that  the  Germans  were 
fond  of  learning  and  complication,  he  changed  his  style  to 
suit  their  taste,  which  enraged  the  Italians,  who  considered 
him  in  consequence  as  a  quack. 

Climate  operates  so  much  in  music,  that  what  is  admired  in 
one  country,  is  detested  in  another.  In  cold  climates,  labor 
is  necessary  to  circulation;  in  hot,  ease  is  the  grand  desider- 
atum. In  Italy,  whatever  gives  the  hearer  the  least  trouble  to 
disentangle,  is  called  gothic,  pedantic  and  scehrata.  The 
works  of  Cimarosa  and  Paesiello,  Neapolitan  composers,  are 


274 


MUSIC. 


universally  played  and  admired.  The  list  of  Roman  and 
Neapolitan  composers  is  nearly  innumerable.  The  great 
vocal  performers  of  Italy  are  admired  thoughout  Europe. 
Their  conservatorios  or  musical  academies,  continue  to  pi;o- 
duce  a  succession  of  talent  and  of  splendid  voices,  and  few 
persons  have  visited  Italy  without  being  gratified  by  the  nu- 
merous operas  of  that  land  of  music,  among  which  the  San 
Carlo  at  Nq)les,  and  the  Scala  at  Milan,  occupy  the  first 
place. 

Rossini  and  Weber  have  for  some  time  past  divic-ed  the  mu- 
sical world  between  them.  The  premature  death  of  the  latter, 
when  scarcely  arrived  at  the  zenith  of  his  fame,  has  caused  a 
blank  in  the  musical  world,  which  will  probably  not  be  filled 
for  a  long  period  of  years.  Where  the  music  of  this  emi- 
nent composer  is  not  liked,  it  is  probably  not  understood. 
There  is  a  degree  of  refinement,  delicacy,  and  invention,  which 
lovers  of  simple  and  common  music  can  no  more  understand 
than  the  Asiatics  harmony ;  and  we  are  told  that  the  Chinese, 
after  repeated  trials,  have  banished  harmony,  or  music  in  parts, 
as  too  complicated  for  ears  accustomed  to  simplicity. 

Jomelli  was  the  first  who  introduced  musical  coloring,  as  it 
is  called,  by  which  music  describes  peculiar  sounds,  motions, 
&c.,  such  as  the  undulating  motion  of  the  waves,  the  roaring  of 
the  wind  and  other  sounds  in  nature.  Where  this  is  used 
judiciously,  it  has  a  fine  efl^ect,  as  when  Mozart  in  his  beauti- 
ful terzettof '  Soave  sia  il  vento,'  expresses  the  placid  undula- 
tion of  the  sea,  or  when  we  hear  the  beating  of  the  oars  in 
Rossini's  Turco  in  Italia.  Still  more  has  Weber  succeeded 
in  this  depictive  style. 


MUSIC. 


275 


In  Wcber*s  splendid  opera  of  the  Freyschutz,  be  leads  us 
through  dark  forests,  over  hill  and  valley,  among  lonely  scenes 
where  we  are  startled  by  the  chorus  of  the  wild  huntsmen.  The 
breaks,  bursts,  and  changes  in  his  music  remind  us  of  varied 
and  broken  scenery.  Now  his  progress  seems  stopped  by  a 
torrent.  He  springs  over  a  chasm,  or  he  rests  for  a  moment 
to  breathe  the  clear  pure  air  of  the  mountain  tops.  Or,  when 
in  Oberon,  the  mermaid  sails  in  her  shell  over  the  dark  blue 
waters,  there  is  a  gentle,  lazy  monotonous  motion,  well  suit- 
ing the  dreary  inanity  which  we  connect  with  the  idea  of 
these  half-human  dwellers  in  the  ocean-caves. 

The  fairy  sound  of  Oberon's  horn  is  truly  startling  and 
elfish;  yet  wild,  sweet,  and  playful.  His  Roshana  is  a  de- 
lightful air,  breathing  oriental  luxury,  and  well  calculated  to 
enslave  the  knight,  if  music  could  have  triumphed  over  his 
moral  courage.  In  the  opera  of  Preciosa,  the  lightest  and 
perhaps  the  most  graceful  of  Weber's  productions,  nothing 
can  be  more  pleasing  than  the  marked  and  energetic  sound  of 
the  gipsey's  dance,  and  the  Spanish  style  of  the  music,  expres- 
sive of  the  sound  of  tinkling  feet. 

His  last  opera  was  Euryanthe,  one  of  his  most  scientific 
works;  but  the  Germans  themselves  are  more  especially  en- 
thusiastic on  the  subject  of  the  music  which  Weber  set  to  the 
songs  of  their  late  poet  Korner.  He  was  a  man  of  an  amia- 
ble character,  modest,  reserved  in  his  manners,  and  domes- 
tic in  his  habits. 

It  is  difficult  to  forma  cool  judgment  of  Rossini  at  a  mo- 
ment when  his  works  are  delighting  the  whole  of  Europe; 
when  by  his  dazzling  and  biilliant  productions,  he  not  only 


276 


Music. 


enjoys  the  celebrity  which  is  seldom  accorded  during  the  life- 
time of  men  of  genius,  but  has  thrown  into  shade  those  of 
almost  every  other  composer,  Mozart  not  excepted.  There 
are  indeed  many  who  endeavor  to  criticise  the  operas  of 
Rossini,  who  blame  him  for  having  introduced  a  redundance 
of  ornament  into  music,  who  accuse  him  of  want  of  energy, 
and  of  a  repetition  of  himself.  But  the  last  is  somewhat 
excusable  when  we  consider  the  number  of  his  works;  and 
his  Tancredi  and  Semiramide  show  that  he  is  capable  of  a 
graver  and  plainer  style  than  that  which  he  usually  adopts. 

His  music  appears  peculiarly  well  adapted  to  display  the 
brilliant  powers  of  the  present  great  singers.  Pasta,  Mali- 
bran,  and  Sontag  continue  in  their  different  styles  to  enchant 
every  enlightened  audience  in  Europe  with  the  melody  of 
Rossini.  Pasta,  especially,  by  her  exquisite  taste,  adds  a 
charm  to  these  songs,  and  gives  to  them  a  new  beauty 
which  makes  us  feel  as  if  we  understood  them  for  the  first 
time.  The  brilliant  voice  of  Catalani  has  begun  to  decline, 
and  no  singer  of  the  present  day  can  rival  Pasta;  nor  did  even 
Catalani,  with  all  her  wonderful  powers  of  execution,  and  her 
voice  which  seemed  to  pour  forth  a  torrent  of  melody,  equal 
Pasta  in  depth  of  feeling,  judgment,  or  taste. 

But  the  days  of  Orpheus  seem  to  be  revived  in  the  wonder- 
ful effects  produced  by  the  violin  of  Paganini;  and  his  extra- 
ordinary performance  upon  one  string.  So  surprising  does  it 
appear  even  to  the  most  scientific  professors,  that  serious  ac- 
cusations of  diablerie  have  been  brought  against  the  signer. 
The  lovers  of  romance  endeavor  to  throw  a  strong  tinge  of  the 
marvellous  over  his  adventures. 


MUSIC. 


277 


He  is  said  to  have  made  a  compact  with  Satan  himself,  to 
have  murdered  his  wife,  with  a  thousand  other  extravagant 
surmises.  He  was  in  truth  a  native  of  the  environs  of  Ge- 
noa; displayed  when  young  extraordinary  skill  in  music;  be- 
came extravagant  and  dissipated;  spent  the  money  which  he 
earned  at  the  gaming-table;  was  thrown  into  prison,  not  for 
the  murder  of  his  wife,  as  has  been  supposed,  but  for  a  gam- 
bling-debt; amused  himself  when  in  this  situation  by  playing 
upon  a  violin  with  one  string,  simply  because  the  others  were 
broken;  and  finally  became  a  proficient  in  the  art. 

Paganini's  appearance  and  performance,  however,  almost 
justifies  the  credulity  which  has  given  rise  to  these  marvellous 
stories.  His  swarthy  complexion,  black,  dishevelled  hair, 
long  fingers,  and  strange  manner  have  something  extremely 
striking  and  grotesque.  Then,  when  he  plays,  he  seems  to  be 
fighting,  with  some  wild  animal,  tearing,  struggling,  and  final- 
ly triumphing. 

The  professors  of  music  who  listen  to  him,  il  not  violin-play- 
ers, thank  Heaven  that  they  never  attempted  to  perform  on 
that  instrument;  while  those  who  are,  throw  away  their  violins 
in  despair. 

On  a  late  occasion,  a  string  of  his  vioKn  having  broken, 
there  was  a  universal  rush  among  the  other  performers  to 
seize  it,  and  it  wa&  finally  divided  amongst  them  as  an  invalu- 
able relic.  In  less  enlightened  days,  it  is  certain  that  Paga- 
nini  would  have  ranked  among  the  gods  or  demi-gods  of  an- 
tiquity; with  Orpheus,  Bacchus,  or  perhaps  with  Apollo  him- 
self. 


V 


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